billboard BREAKDOWN - hot 100 - february 28, 2015 (VIDEO)

Well, that's another week. Man, that took a long time to finish.

Okay, next up... you know, I think it's time we tackle something really awful, and I might just need help with this one. Stay tuned!

billboard BREAKDOWN - hot 100 - february 28, 2015

I was expecting the Billboard Hot 100 to be busy this week. Coming off of the Grammies, it always is - you get performances that remind people that certain songs exist and they start rising again or ever return to the charts. Big award shows are like that, and even though most of the critical public treats them with professional disinterest - well, at least until one of our favourites wins like with St. Vincent this year - the public puts a lot of stock in them regardless. That was the plan... and then a certain Canadian rapper decided to drop an album out of nowhere and suddenly - and I hate that I'm saying this - but the radio turned into the Drake show. Let me stress this was US radio - where you guys got five new Drake tracks charting - and not even the best ones, at that - guess how many we Canadians got? One - once again, proving the universal truth that the Canadian charts are always better.

video review: 'smoke + mirrors' by imagine dragons

Man, I wanted this to be a lot better. Really disappointed it's not. Eh, it happens.

Okay, next up is Father John Misty, and oh, I'm looking forward to this one - stay tuned!

album review: 'smoke + mirrors' by imagine dragons

So as many of you probably know, I listen to a fair bit of rock music - and since plenty of you probably follow Billboard BREAKDOWN, you're all probably aware that we don't get a lot of rock music on the charts anymore. It's been declining for years, really since the 90s, but ever since post-grunge had its last gasps, most of the rock that lands on the radio is indie-flavoured or is so gutless it'd have been laughed off the radio in the late-80s, when hair metal was at its most poppy. As of now, if I'm being charitable we might have eight rock songs out of a 100 on the charts right now, and some level, that makes me a little sad, especially considering it has been like this for a while.

So going back to 2012, when I heard 'It's Time' by relative unknown Imagine Dragons, I didn't care it was only on the charts thanks to Glee and that the production was a little colourless, it was an indie rock song that landed on the Hot 100, I took what I could get. 'It's Time' landed on my 2012 best list, and the massive follow-up 'Radioactive' landed on my list in 2013. I'm not going to say that either song is fantastic, and I would have preferred to hear Queens Of The Stone Age on the radio than them, but again, there weren't many other options. But I was more curious about the band so I did pick up their debut album Night Visions, and for the most part I liked it. Lead singer Dan Reynolds had presence and power that reminded me a lot of Bono in a good way, the lyrics were reasonably solid albeit a little basic and overly broad, and the anthemic quality of many of their tracks did stick with me.

But let's be honest, that album has not aged well, mostly thanks to the monochromatic production courtesy of hip-hop producer Alex da Kid - many of the guitars were crushingly dreary, the percussion was over-emphasized, and the fact that the album was a composite of three different EPs and a few scattered songs really works against it. In other words, I was definitely curious where the band was going with their sophomore record Smoke & Mirrors, half because the band said they were going in more of a rock direction and the singles seem to be reflecting that. But then again, it's also getting produced by Alex da Kid, who I've never really been impressed with as a whole. So what did Imagine Dragons deliver?

billboard BREAKDOWN - hot 100 - february 14, 2015 (VIDEO)

By the Nine Hells, it gets annoying when the upload keeps failing. In any case, I'm actually really quite happy with this episode - finally, some good songs and signs for the future.

Next up... you know, I haven't done a country review in a while. Let's change that, shall we...

billboard BREAKDOWN - hot 100 - february 14, 2015

This was one of the more deceptive weeks for the Hot 100 - not that it was a bad or good week, we'll get to that, but that from first glance, not a lot seemed to change or evolve. I mean, the Top 10 barely seemed to shift at all, and we only have seven songs, new or returning, to talk about. But look a little deeper and you'll start to see a lot more traffic, some expected, but a fair bit that did surprise me.

the top ten best hit songs of 2013 - video

So this turned out as well as I expected. List 2/4 done, stay tuned for more!

the top ten best hit songs of 2013

Here's a fun fact about me - as much as I nitpick and criticize and say all manner of things people don't want to hear about the music they love, I've got my own fair share of popular music that I cherish, appreciate, or outright love. Sometimes, quality rises to the top, and while none of this particular list will show up on my upcoming list of the best songs of this year, I still think they're worth mentioning if only to reinforce some vague sense of populism that I have. But really, it's nice to point out that some mainstream music gets popular because it's good, and sometimes pop or country or mainstream hip-hop can be just as good as the most underground of indie hits.

Now the rules are as before: the songs have to debut on the Billboard Hot 100 year-end chart this year - so as good as 'Die Young' by Ke$ha or 'Some Nights' by fun. are, I can't exactly mention them again on this list after they made my list last year. And on that note, don't expect any sort of coherent theme to these picks. While my year-end worst list had an abundance of terribly vapid luxury rap (especially near the top), on a year as varied and confused as the 2013 chart would indicate, my choices might surprise you. And fair warning: you won't agree with the majority of this list.

So let's get started with some Honourable Mentions, shall we?

album review: 'don't look down' by skylar grey

The more I think about it, the more I believe that being labelled the 'protege' of a popular artist is a lot worse than one might think.

Sure, you get the immediate hype and buzz from association with your more popular and successful mentor, but like all popularity, it can be replaced by backlash the second you make the slightest mistake. And this backlash tends to be harsher than if you struck out on your own, because there is the implication that you had the backing of a great artists and still struck out. Sure, that might be unfair, particularly when the general public doesn't really know how much influence or control said great artist had over your work, but there is a grain of truth to it.

But if even if you succeed and rise to your mentor's level, the comparison with said mentor will always be invited, particularly if there are stylistic similarities. At best you'll be deemed a 'copycat', an act permanently confined to their greater's shadow. At worst you'll be branded a rip-off, a soulless copy of something greater that came before. And even if you manage to surpass your mentor (as I'd argue Drake and Nicki Minaj have occasionally done with Lil Wayne), there will always be that asterisk associated with your work, that it isn't quite entirely your work and thus ever so slightly not as good. 

So it's not entirely surprising that it's fairly rare a protege of a popular musical act rises even close to the level of their mentor. Sure, Justin Bieber might be more popular amongst his fanbase than Usher is right now, but Bieber certainly isn't getting Usher's level of critical acclaim. And even though 50 Cent definitely had his moment in the spotlight in the early 2000s (his publicity heightened even further by his gutting of Ja Rule's career), he has mostly faded from public view in comparison to his 'discoverer', Eminem (which, frankly, is something I'm okay with, because 50 Cent was never that talented anyway).

Now I'll admit right out of the gate that Eminem remains to this day one of my favourite rappers, and I'm definitely looking forward to his new album later this year. That said, I can't help but notice he has a rather poor reputation in recreating his level of success with his collaborators and proteges (outside of 50 Cent, obviously). As much hype as D12 had in the early-to-mid 2000s, the band never took off with the same notoriety as Eminem had, and while his influence has been a boost to Slaughterhouse's careers, they certainly haven't had that mainstream breakthrough to match their critical praise. Even Yelawolf, who was once praised as the 'next' Eminem, hasn't had the nearly same degree of success (then again, that might have something more to do with his bizarre collaborations with Travis Barker and Ed Sheeran (?)).

And I've got to be honest, I was more than a little skeptical when I heard he was the executive producer behind Skylar Grey, a rising female singer who you might recognize as a co-writer behind Eminem and Rihanna's 2010 collaboration 'Love The Way You Lie', a song I really like but don't quite love. in fact, going back through the writing credits and vocal performances of Skylar Grey, I can't exactly say I've been impressed. I'll acknowledge that her touch is recognizable on her featured tracks ('Coming Home' by Diddy, 'I Need A Doctor' by Eminem & Dr. Dre, and 'Words I Never Said' by Lupe Fiasco), but while I like all three of these songs, I don't quite love them. But I'm fairly certain I know why: Skylar Grey, at least on these tracks, has absolutely no vocal personality.

Now that's a steep charge to level, but go back and listen to all of those tracks. Sure, she's an adequate singer, but outside of a harsher, semi-darker vibe, I don't get much idiosyncrasy or force of personality behind them. There's none of Rihanna's sultriness (well, back when she was good), none of the mostly convincing innocence in Taylor Swift or Carly Rae Jepsen, none of Lady Gaga's haughtiness, none of Ke$ha or Pink's brash attitude or Avril Lavigne's brattiness. She doesn't even have the raw energy that can occasionally make Katy Perry tolerable. Basically, if I'm going to draw a comparison to R&B, Skylar Grey reminded me of Keri Hilson: an adequate singer, but devoid of the flash of the visual presentation, not much more.

But I'm always one to be fair here, so I picked up her major label debut Don't Look Down. Did she manage to grow a personality while I wasn't looking?

the top ten best hit songs of 2012

I've got to be honest here - when I wrote about the worst songs of 2012, I couldn't write about them all in one sitting. And it wasn't just because it was long and I needed a break - it was more because I got some damn depressed trying to parse my way through the worst of 2012's pop music that I needed some kind of break - any kind of break - just to reinvigorate my spirits.

Fortunately for me, I don't think I'll have that much of a problem here, because today we're going to look at the best of 2012 - which, if I'm being completely honest, was a really great year for the pop charts. It's not hard to see why, particularly if you look at the year in context with 2011. I've written before on the twin axes of pop music (here, if you're curious), which are maturity and intelligence. And while material tends to travel up and down these 'axes' in parallel, the collapse of club music in 2011 showed the first sign of a divergence in the pop music scene: music that was mature and intelligent, and music that was immature and stupid. 

Now, let me make this absolutely clear: you can have great pop music that is both immature and stupid, but in general, you tend to see greater quality, innovation, and interesting breakthroughs with music that's smarter and more mature because the subject area is broader and the people crafting the music tend to be more insightful. And I'm not confining this to genre either: just because an act is country or crunk doesn't mean they don't have some wry intelligence, and just because an act is indie rock doesn't mean they're all that deep or insightful or mature.

And since I'm a fan of great pop music, I was thrilled to see this axis divergence, and even more thrilled to see a ton of great pop music spring up from the doldrums of the club music scene. And as much as I'd like to shout praise to the heavens for the indie rock explosion that saw plenty of extremely solid acts rocket to the top, I can't help but acknowledge that there were great country, hip-hop, rap, and even mainstream pop acts that surprised me with their quality.

But before I get in all that deep into the material from this year, let's quickly revisit my list of best hit songs from 2011:

10. 'Jar Of Hearts' by Christina Perri
9. 'Fucking Perfect' by Pink
8. 'Coming Home' by Diddy - Dirty Money ft. Skylar Grey
7. 'All Of The Lights' by Kanye West
6. 'The Show Goes On' by Lupe Fiasco
5. 'You And I' by Lady Gaga
4. 'Fuck You' by Cee Lo Green
3. 'Rolling In The Deep' by Adele
2. 'Someone Like You' by Adele
1. 'Colder Weather' by The Zac Brown Band

And, as usual, upon reflection, I'd probably make a few changes to this list:


10. 'Jar Of Hearts' by Christina Perri 'Stereo Hearts' by The Gym Class Heroes ft. Adam Levine
9. 'Fucking Perfect' by Pink 'Back To December' by Taylor Swift 
8. 'Coming Home' by Diddy - Dirty Money ft. Skylar Grey 'Blow' by Ke$ha
7. 'All Of The Lights' by Kanye West
6. 'The Show Goes On' by Lupe Fiasco
5. 'You And I' by Lady Gaga
4. 'Fuck You' by Cee Lo Green
3. 'Rolling In The Deep' by Adele
2. 'Someone Like You' by Adele
1. 'Colder Weather' by The Zac Brown Band

Huh, not that many changes, really. Part of that is an indictment on how great all of these songs are, but part of it is also the fact that all of these songs represented the best of their genres and the best of growing trends on the charts. 

And if I'm being completely blunt, I don't know what part of my mind thought it was a good idea to put both 'Jar Of Hearts' (a song I've really soured on in recent months) and 'Fucking Perfect' (which has worn out a fair bit of its welcome) on the list, and it wasn't hard to swap them out for 'Stereo Hearts' (a song that grew on me due to some clever metaphors and an incredibly catchy chorus courtesy of Adam Levine at his best) and 'Blow' (a song that has problems, to be sure, but builds surprisingly well and is punchy enough to be a damn great dance/work-out track). And really, 'Coming Home' isn't a bad track in the slightest, but 'Back To December' is really so much better, and probably Taylor Swift's best song by far.

And with that, let's proceed to 2012, and some Honourable Mentions: