the top ten worst hit songs of 2010

...what, you thought these retrospective lists would only cover the best of the year? 

Yeah, eventually we were going to have to get here, and we might as well start with the first year in the 2010s left uncovered. But first, a quick recap of the chart trends of 2010, a year knee-deep in the club boom, somewhat evenly between the songs that believed the party would never end and those who were desperately pretending it wasn't happening at all. And what was telling was how both sides of that binary wound up on the best and worst lists, which you'd think would balance everything out. And yet that's where you'd be wrong, because the bad songs seemed to grossly outweigh the good in 2010 in hitting the lucrative balance between offensive, obnoxious, or just plain asinine. More to the point, it was also a year where flimsy production that's aged rather badly was everywhere on the Hot 100, and sometimes a song sounding like ass is all you need here.

Now granted, 2010 is one of those years where the factor of, 'Oh, this sucked, but nobody cares anymore so why revisit it', and that tends to be a hidden truth about the Hot 100 - bad trends age badly, but the songs are so disposable that nobody really cares all that much, which tends to paint the years as better than they might be. And while this is true for some forgotten crap, there'll also be hits on this list that somehow remain massive to this day, either because the artists are still celebrities - and probably shouldn't be - or the radio has entrenched them as staples because nobody with brain cells came in the day they decided on syndication. And again, the songs had to debut on the Hot 100 in 2010 - it's widely considered a pretty rough year for the charts, all the more tainted by the fact I personally spent way too much time in the club in 2010, so let's go back to the gungy afterparty rightly forgotten, and the morning hangover that somehow has not gone away, starting with...

album review: 'happiness begins' by jonas brothers

I've said it before, I'll say it again: I missed the Jonas Brothers.

Not that I wanted them to come back or have some sort of fond nostalgia for the group - I literally had to check to be sure they weren't a part of High School Musical, even though they did come from the same Disney pop factory that gave us Miley and Demi - but that they were a little after my time. Strange that they missed my preteen years where I was an open fan of Hilary Duff and my university years where I was an open fan of Glee, but they were pumping out over-polished, basic pop rock where my tastes were more refined even then - you know, Fall Out Boy, Boys Like Girls, Simple Plan, that kind of thing.

But bad jokes aside, I've always had a bit of distance towards the whole Jonas Brothers thing - 'When You Look Me In The Eyes' was a good power ballad, sure, but the production was always mediocre at best and the band never brought a convincing edge or flair to bear, not helped by Nick Jonas needing a few years to grow into his voice... when he then promptly became an underwhelming solo act. And I honestly expected nothing more to come of the old group - Joe Jonas had gone on to his underwhelming pop-funk group DNCE, the third one - I've been told his name is Kevin - went on a bunch of reality shows, and irrelevance would hit once any of these guys hit their thirties. And then 'Sucker' became a radio behemoth riding on safety and nostalgia and suddenly there's a terrible follow-up single with 'Cool' and a new album waiting in the wings, and I'm stuck with a project that all the buzz was predicting was a multi-genre clusterfuck, not helped by the presence of executive producer Ryan Tedder. And look, Tedder has done great work in the past, but he's fallen off considerably since the 2000s and given that I have no real nostalgia for this group, I wasn't going to treat this with kid gloves - so what did we get from Happiness Begins?

video review: 'between the country' by ian noe

Yeah, thrilled that I took the time to cover this - killer album, easily one of the best of 2019!

Now up next... I think I'm going to spend today catching up on other reviews and that damn top ten list that's not quite finished yet, but we'll see where this goes - stay tuned!

album review: 'between the country' by ian noe

So I'm not sure how to broach this the comment in a way that won't be misconstrued, so I'll just say it: I've been struggling with indie country in recent months.

And you wouldn't think that'd be the case - the expectation is that since indie country is free of the Nashville songwriting machine you'd find more variety or flair that's distinctive, but like with other underground genres, you tend to see trends take hold in much of the same way. The vintage rockabilly that might occasionally dabble with soul, the \southern rock and outlaw country bravado, and most frustratingly for me, the stripped-back folk-leaning singer-songwriter material that at its best can produce material like Emily Scott Robinson's stunning Traveling Mercies, but at its worst just becomes tepid, underwhelming, and a frequent reminder that 'unplugged' doesn't automatically translate to 'deep' or 'interesting'. And at some point Dave Cobb will produce something and it's basically a roll of the dice whether you get something striking and memorable or see him tip towards undercooked grooves or a delicate vintage palette that's just become a bit played out. And yes, of course there are exceptions I'll praise - the fact that Alice Wallace brought so much diversity to Into The Blue is one reason that album has held up for me this year - but again, they're exceptions, not the rule.

So when I heard about Kentucky native Ian Noe's debut album Between The Country pick up some critical acclaim with the comparisons to Colter Wall and the Dave Cobb production credit... look, I don't want to sound like a curmudgeon, but I was bracing myself for something good, but that I've heard dozens of times before. But hey, it was either this or listening to Miley Cyrus or Thomas Rhett, so what did I get on Between The Country?

billboard BREAKDOWN - hot 100 - june 8, 2019 (VIDEO)

Well damn, this was a messy week (and by some miracle I dodged the copyright bots...) - anyway, next up it looks like I'm going to Ian Noe next, so stay tuned!

billboard BREAKDOWN - hot 100 - june 8, 2019

I think the chaos of 2018 warped how I normally see the Hot 100. Granted, part of this feels driven by the fact that at this point last year we had been hit by multiple album bombs where 2019 feels more quiet in general, but it also feels like projects that would normally hit with greater impact just aren't penetrating as deeply as you'd expect, leading to a more chart. So maybe consistency is our new normal...

video review: 'ZUU' by denzel curry

So yeah, this was fun - I'm a little pleased that I didn't really get much backlash to this one, but we'll see where that goes...

Anyway, Billboard BREAKDOWN is up next and then probably some country on the docket, so stay tuned!

video review: '2waymirror' by gabbie hanna

So yeah, I found this better than I expected... actually, more or less exactly what I expected, go figure.

Anyway, next up is Denzel Curry, so stay tuned!

resonators 2019 - episode #017 - 'doom' by mood (VIDEO)

Okay, this probably won't get a ton of traffic, but I'm pretty pleased I was able to show some light on this...

Anyway, now for something completely different...

album review: '2waymirror' by gabbie hanna

If you're surprised that I'm covering this project, you haven't been paying attention.

Because I've mentioned before that I've watched Gabbie Hanna for some time now, for at least a couple of years, and I actually got into her content well before she started making music at all. Now you might be wondering why on earth I'm watching this - I'm clearly not her target demo in any criteria - but I've always been curious about framing, fostering a relationship with one's audience, and for Gabbie's brand of content to have survived so much, that speaks to her tenacity and work ethic.

That being said, I've been on the fence about her musical ambitions for some time now, mostly because she doesn't seem to cleanly fit into an easy box within the mainstream, and I question how much she should even go in that direction. She certainly has the presence and charisma and look of a pop act, especially given her commitment to dance... but you can also tell her other natural talents don't really fit in that lane. For one, there's her voice, which has a rough, throatier edge that I've always been convinced would be a better fit for rock or punk or emo - and that's not even taking into account her style of writing, which has a level of intricacy and poetry that'd be a natural fit for an act like Jetty Bones or Say Anything or even the old-school emo rap set - I remember seeing her 'Roast Herself' and being reminded of cadences from Sage Francis or Atmosphere, and that's high praise I rarely give! So packaging her into a mainstream-accessible pop package - when mainstream pop music is currently at one of its weakest points - it worried me that she'd play to a sound that was accessible but not the most flattering to her strengths, and given how she has a built-in, diehard audience, she doesn't need to do that. That said, I remember being pleasantly surprised by Emma Blackery last year, so what did I get from Gabbie on 2WayMirror?

resonators 2019 - episode #017 - 'doom' by mood

So last month when I covered Slum Village, I made sure to highlight how much of that project was a springboard for legendary producer J. Dilla, who had started to pick up traction in a few years before but really launched into major cult prominence off of that project. And while that success would cascade down somewhat into the other members of Slum Village, both present and future, today we're going to be exploring a similar launch point in underground hip-hop, but one that time might have forgotten if you didn't know where to look.

So, it's 1997 in Cincinnati, a city which has never really been a hotbed for hip-hop in any era, but things are moving for an up-and-coming group called Three Below Zero, featuring rappers Main Flow and Donte and producer Jahson. More to the point, they've also got a connection to future big name producer Hi-Tek, who hit it up well with an up-and-coming Brooklyn MC named Talib Kweli, who we covered on an earlier episode of this show. They had released a few singles over the past couple of years - the one that tends to be recognized the most is 1996's 'Hustle On The Side', which is a pretty terrific forgotten gem in its own right - but they had changed their name and had ventured up to New York to record their debut which would be released in 1997... and depending who you talk to, is mostly known as the launch-pad for Talib Kweli and Hi-Tek, or is a forgotten underground classic in its own right... and it would take the group as a whole until 2011 to release a non-compilation follow-up. So okay, let's get into Doom, the debut album from Mood, and this is Resonators!

album review: 'ZUU' by denzel curry

I'll admit I wasn't expecting this.

Granted, I'll admit that might as well be a tagline for most of my experiences with Denzel Curry - from a smoked-out, nerdier brand hip-hop to the hyper-aggressive but potent as hell bangers of Imperial to the more stylized and diverse TA1300, his sound has only expanded and shown deeper wells of potential to grab a bigger and bigger following, so I guess I'm not averse to the 'coming home party banger' project that plays closer to a mixtape feel. Hell, one of my issues with TA1300 was that the experimentation felt a little undercooked, so maybe streamlining on a 'back to basics' mold could connect, and he's got a penchant for melody and hooks that puts many of his peers to shame. And considering how much I've really been looking for a "fun" hip-hop project over the past couple of weeks if he's going to drop something looser and overloaded with summer bangers, I'm be intrigued - I'm not sure I've heard Denzel Curry sound like he's having fun on an album in recent years, and I'm always conscious of the depth he'll slip between the lines. And while I'm not expecting him to give Sage Francis or B. Dolan a run for their money given how they came off This Was Supposed To Be Fun, I wanted to hear this regardless, and it was short enough to go down easy - so what did Denzel Curry deliver with ZUU?

video review: 'flamagra' by flying lotus

Okay, so this was a little messy, but still quality, still worth talking about too.

Next up... I think I've got Resonators and maybe a Top 10 list, so let's see what happens, stay tuned!

album review: 'flamagra' by flying lotus

So I'll admit I had to go back and relisten to Cosmogramma and You're Dead! before making this review - and it probably was the first time in five years that I've done so.

And that looks bad, obviously, as both are genuinely great albums that take tangled, jazzy experimentation in their electronic tones and dive into rabbit holes rife with strange samples, twisted analog synths, and the sort of alien vibe that commands the sort of pit-in-your-stomach dread as much as it does my respect and wonder. And that's the funny thing for me: Steven Ellison aka. Flying Lotus creates thematically cohesive, amazingly intricate, and remarkably textured albums that can synthesize genuine beauty... but often cycle around existential themes and central ideas that can be deeply unsettling if you stare into that abyss, and are really best consumed as one long look. People tend to forget that certain tones of Cosmogramma were synthesized from samples of vital-sign monitors and respirators in his dying mother's hospital room, and it's also one reason I've always found it strange that Flying Lotus recruits guest artists for verses on projects like You're Dead! for isolated pieces that feel like fragments separated from a larger album - what might be more startling is how often it manages to work.

So we're dealing with prodigious amounts of talent here... so why has it taken us five years to get a new album when they normally come around a fair bit more quickly? Well, Ellison put out a contentiously received anthology film called Kuso in 2017 and he's been contributing music to other projects, but this year we got news about his newest and longest project planned to date, a concept album surrounding fire, filled with guests from long-running collaborator Thundercat to notable names like Anderson .Paak, Solange, Denzel Curry, and Shabazz Palaces, all the way to surprises like George Clinton, Tierra Whack, and David Lynch. So okay, what rabbit hole is Flying Lotus pulling us into this time?

billboard BREAKDOWN - hot 100 - june 1, 2019 (VIDEO)

Frankly I'm surprised this video is holding up as well as it is... well, we'll see where everything lands as I work on Resonators and that Flying Lotus album - stay tuned!

sonic temple 2019 - review / vlog

Yeah, a little late with this one, but I had a lot of footage to cut together and a lot of reviews to push out the door - still, I'm pretty proud how all of this came together, enjoy!

billboard BREAKDOWN - hot 100 - june 1, 2019

So I'll admit I didn't quite predict this. I knew that Tyler, The Creator would have his album bomb - and with just enough songs to squeak into my qualifying rules, for the record - but I'll admit I did not expect DJ Khaled to do as well as he did. Now part of that is the suspicion that DJ Khaled didn't have the blowout single ready to hit beyond a song like 'No Brainer' - which was released last year, packaged on the album, and didn't re-enter the Hot 100 here - but he did see enough measurable chart success that I have to pay attention... even if I have less than zero interest in reviewing the album and it'll probably wind up on the Trailing Edge at best.

video review: '4REAL 4REAL' by yg

Well, this was better than I expected - and I'll admit I was close to calling it really good, but it did just fall short at the end.

Anyway, I'm thinking I'll have my Sonic Temple wrap-up video today (just need to add in my b-roll footage and some music, and in the mean time I've got Resonators, Billboard BREAKDOWN tomorrow, and Flying Lotus, so stay tuned!

album review: '4REAL 4REAL' by yg

Believe me, it was not my plan to start liking YG's music.

Because for the first half of the 2010s, I didn't - he had some singles to start the decade and I still don't really like My Krazy Life. Not really a bad hip-hop album, but it was a project drilling into the bare bones in production courtesy of DJ Mustard at his peak and the content... and little else. I understand the everyman appeal, don't get me wrong, but it didn't nearly stand out as much as it could, and I'd argue that you could put any number of more capable MCs in the same spot with the same production and you'd probably get a better album.

But then Still Brazy came out in 2016, and YG took west-coast revivalism with more expanded production, a genuine sense of humor, and a blunt political angle that actually packed a wallop in a generally underwhelming year for mainstream hip-hop... which might be why that album didn't produce notable singles on the charts to my vast irritation. And thus I can't blame him that much when Stay Dangerous returned to a similar formula to My Krazy Life and actually got some singles success - the only problem was that it was lazier and generally worse, but it did make sense he'd be able to turn around a follow-up more quickly. Hell, it would have been released earlier than even this if it hadn't been for his friend Nipsey Hussle's tragic passing. And I'll be blunt, I didn't have high expectations, mostly because the production team hadn't changed much with singles like 'Go Loko' it looked like things were getting even worse... but hey, maybe it'd work out on 4REAL 4REAL?

movie review: 'pokemon: detective pikachu' (VIDEO)

Well, this turned out better than I expected - great stylism married with some solid acting performances and shows a ton of promise going forward. 

Anyway, next up was an improvement I did not see coming - stay tuned!