Category — Leona Lewis

Christ on a Christmas cracker–the 2010 BRIT Award nominations are in!

I can’t believe it’s time already for the ceremony to begin once again. It seems like only yesterday I was sitting in my bed watching in disbelief as Gaga robo-danced her way on stage with pieces of shattered china plates glued to her lady bits. Ahh, memories.

As per usual (see 2009), I’ve gone ahead and bolded my favorites for the crown and added a few insightful comments and/or snooty one-liners to the end of each category.

And awayyy we go! (Thanks to The Guardian for the full list of nominees.)

Click to read…

I love Agnes. She seems like such a kind soul with an angelic voice…sort of like the Swedish version of Leona Lewis.

This is just a little something–an acoustic version of her song, “Sometimes I Forget,” performed at MTV Studios in Germany this year.

Today has just been full of disappointments: The videos for “Bad Romance” and “Video Phone” seem to be delayed indefinitely, the Leona Lewis album is, for the most part, a massive snooze-fest, and worst of all, the strawberries that I worked so hard to plant have withered on FarmVille.

But enough mourning for this morning, it’s time to talk about the good stuff: “Dance in the Dark,” Mademoiselle Gaga’s new single (maybe?) off of The Fame Monster, her re-release of The Fame (maybe?).

An In-Depth Analysis of “Dance in the Dark.”

1. The opening.
Stuttering male vocals! Gaga shrieking in the distance! Haunted synthesizers! Doom, destruction, and everything in between! Brilliant.

2. “Silicone, saline, poison, inject me…baby, I’m a free bitch.”
The greatest opening line of 2009.

3. She sends a shout-out to Sylvia Plath.
So the breakdown layout is lifted straight from Madonna’s “Vogue.” Who cares? Everyone knows that if someone’s reciting the names of famous people in a monotone voice, it’s time to dance.

In the case off “Dance in the Dark,” Gaga limits her subjects according to theme, choosing only those who’ve suffered a tragic end by way of (or indirectly because of), you guessed it: The fame. “Marilyn, Judy, Sylvia…tell ‘em how you feel, girls.” Shivers!

4. It is dark disco.
“Dance in the Dark” is a hands-in-the-air dance song about a woman being harassed by her boyfriend. “She looks good, but her boyfriend says she’s a tramp, she’s a vamp, but she still does her dance,” mourns the Gaga. And let’s not forget about the chorus: “Baby does her dance in the dark, ’cause when he’s looking, she falls apart.” Who knew emotional abuse could inspire such happy feet?

5. It is not quite as good as “Bad Romance,” but it’s in the same league.
Which, according to my calculations, means that The Fame Monster is almost destined to be one of the greatest pop releases of the year.

First the bad news: You cannot convince me that “Happy” isn’t more than just the third incarnation of “Halo”/”Already Gone.” Congratulations, Ryan Tedder–you’re still a one-trick schmuck.

And now for the mostly good: The song is very good–like, very, very good, seven plays in a row and counting good–and will (and should) undoubtedly garner the same international fanfare as “Bleeding Love”–it’s just been done two or three times before. Generally, I’m loving it.

Similarly, the cover art is completely A-M-A-Z-I-N-G (see above). Gorgeous! One of the best single covers of the year, hands down.

The facts: A new song, presumably off of Leona Lewis‘ follow-up album, has hit the interwebs–a Ryan Tedder-produced track called “Strangers.”

The verdict: Ryan Tedder has done it again–in that he’s produced a song that still sounds like “Halo” and “Already Gone,” just with the BPM kicked up a little bit for a ‘dancier’ vibe. It’s entirely listenable and entirely pre-existing–perfect for a safe return to radio. Factor in the repeat-heavy chorus composition, and you’ve got yourself a probable mini-hit.

According to most fans, “Halo” is the probable candidate for the second single from Beyoncé’s I Am… double album. It’s a fairly instant, by-the-numbers slow stomper similar to that of Rihanna’s “Umbrella,” though far less brilliant. The umbrella, as I’m sure we can well agree, is much more aurally pleasing than the halo…Especially when in it’s four syllable format.

I rather enjoy Beyoncé’s lower register as exhibited within the verses of “Halo.” I wish she wouldn’t have to resort to shouting so often! PopJustice says the track was meant for the likes of Leona Lewis, who would have probably delivered a better rouse of emotion and a better control. Shame!

Yeah, I said it.

DL: Beyoncé – Halo

I’m confused. I’m hearing Leona Lewis, and I’m also hearing a beat thats ever so slightly faster than mid-tempo. It’s a new song that leaked from the American release of her album, Spirit, called “Forgive Me”. Sounds a bit like Gwen Stefani’s “The Sweet Escape”, which would make sense, as Akon had a hand in producing both. I like it, generally, though you can still feel the copious amounts of boring seeping through the dance beat. I’ll allow for it. Congratulations on your American #1, darling.

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DL: Leona Lewis – Forgive Me

I’m not a fan of Leona Lewis. Well, that’s a bit harsh. I just find her incredibly dull.

It’s not that she’s not perfect at singing, but she’s hardly what I would consider an “entertainer.” That’s what I like after all, showmanship and entertainment value.

That being said, she deserves all due credit for her impeccable singing ability. Her people decided to drag her over to Times Square last year to film an American version for “Bleeding Love,” her first release. Apparently, American audiences are unprepared the controversial topic of adultery. And arson.

The new video has premiered, which you can view below.

Apparently Americans are quite fine with painfully long close-up shots and sprinklings of a plot. Luckily, Times Square is constantly depicted within the video, in case you forget which version this is. It’s downright perplexing to me that her management chose to shelve the video with the tiniest morsel of entertainment in favor of this snoozer. I know she’s pegged to be the next Whitney and Mariah, but do we have to start so soon with the never-try-too-hard diva attitude? She’s not even established. Anyway, check out the original and superior version here.

In case anyone else is interested in various British affairs, here are the list of the nominees for the 2008 Brit Awards. Oh, if only the Grammy lists were like this. And hell to the yes for Girls Aloud finally getting some well-deserved recognition. Pop’s dying, people. Resuscitation is found only in the form of golden statues and awkward speeches. Anyway, get on with it and read the list, remembering to boo and hiss when needed. Additionally, just in case you thought this list was to be posted without bias, I’ve taken the liberty of providing catty commentary regarding the possible winners within each category.

British male solo artist: Jamie T, Mark Ronson, Mika, Newton Faulkner, Richard Hawley.

I’ll go with Mika, because he is a homosexual and sometimes I feel like we have to work together to beat the system. Also, I know none of the other candidates besides Mark Ronson, who is genius but should probably be more responsible for producing music than performing it (Reading this, Timbaland?)

British female solo artist: Bat For Lashes, Kate Nash, KT Tunstall, Leona Lewis, PJ Harvey.

This is difficult, but I believe Bat For Lashes will take this because of her whole “Björk-ish” vibe. My personal favorite from the list is Kate Nash, however. Leona, I appreciate the Mariah-vival, but I can do without.

British group: Arctic Monkeys, Editors, Girls Aloud, Kaiser Chiefs, Take That.

Uh, duh. Girls Aloud. Artic Monkeys are wonderful at times, but I can’t go and disrespect my ladies. Besides…Cheryl really wants one, she said.

British album: Arctic Monkeys – Favourite Worst Nightmare, Leona Lewis – Spirit, Mark Ronson – Version, Mika – Life In Cartoon Motion, Take That – Beautiful World.

Tricky, tricky…I’ll have to say Arctic Monkeys will take it, but perhaps Leona, but maybe Mika. Oh, and Take That had a massive little comeback, didn’t they? Unless the judges get all strange and decide that Mark Ronson’s is the most well rounded what with the collaborations and all. And there’s my hard-set opinion on the matter.

British breakthrough act: Bat For Lashes, Kate Nash, Klaxons, Leona Lewis, Mika. (Winner chosen by BBC Radio 1 listeners)

Kate Nash. Screw you all.

British live act: Arctic Monkeys, Kaiser Chiefs, Klaxons, Muse, Take That. (Winner chosen by BBC Radio 2 listeners)

Arctic Monkeys. Based entirely on the performance two years ago by the Sugababes of “I Bet You Look Good On The Dancefloor,” which wasn’t on their latest album. That’s all I’ll have to say about that. Unless Muse takes it.

British single: Leona Lewis – Bleeding Love, Mika – Grace Kelly, Take That – Shine, Kaiser Chiefs – Ruby, Sugababes – About You Now, Mark Ronson Ft Amy Winehouse – Valerie, Kate Nash – Foundations, The Hoosiers – Worried About Ray, James Blunt – 1973, Mutya Buena – Real Girl. (A live public vote will decide the winner on the night)

Oh, fuck me. I mean, Leona kind of ate the U.K. with Bleeding Love, which is bleeding onto the entire world shortly. Although songs in falsetto such as Grace Kelly tend to stay in the voter’s mind well after they’ve chosen not to listen to the song anymore. Foundations is brilliant, but I can’t say that it can win over these powerhouses. Sugababes and Winehouse, I’m sorry, but your hearts weren’t into it. I wonder if Mutya feels a bit strange to be recognized along with her ex-bandmates. I hope they get grouped together for a blissfully tense nominee photo.

International male solo artist: Bruce Springsteen, Kanye West, Michael Buble, Rufus Wainwright, Timbaland.

Ummm, give a black man a chance. And by that, I mean Kanye. He’s said it himself. So let’s give it to him. That, and the others don’t really stand a chance when sales are compared. Although Rufus’ CD is pretty lovely.

International female solo artist: Alicia Keys, Björk, Feist, Kylie Minogue, Rihanna.

What are you trying to do to me? You can’t just go ahead and place Björk and Kylie in the same competition and expect me to simply accept that sort of analysis?? I can’t decide. If I had to, I would go with Kylie, because her CD delivered more than Björk’s did. I’m sorry. Oh, but as for the actual winner? Probably Feist or Rihanna. Bitches.

International group: Arcade Fire, Eagles, Foo Fighters, Kings of Leon, White Stripes.

Care level decreasing. I’ll go with White Stripes because they make him out to be so damn epic, and they make her out to be improving with each album. I haven’t heard any of their work, and so I am 100% confident in my decision.

International album: Arcade Fire – Neon Bible, Eagles – Long Road Out Of Eden, Foo Fighters – Echoes, Silence, Patience & Grace, Kings of Leon – Because Of The Times, Kylie Minogue – X.

Eesh. I’m actually more confident in a Kylie win for this one. What a strange bunch to pit against each other. Eagles may take it because they secretly crept up and stole the #1 chart position (for which I will never forgive them) from Britney back in October. I’ll go with my love and blindly believe in Kylie. Because I believe in you, I believe in, I believe in you, I believe in…you.

As promised, I present my picks for the top tunes that did a fair share of tickling my fancy throughout 2007. As a result, my fancy is currently in the process of pressing charges. This list involved a lot of thinking, which is usually against my better judgment. But in the meantime, I shall present the culprits (in no particular order, but just assume any and all Britney entries to be considered first):

Flavor of Life – Utada Hikaru – Don’t be fooled by the CD art. This song involves neither pastel colors, nor rice balls, NOR sheep (a bit disappointed by the latter exlusion). Nay, Flavor of Life was a major tickler during the first quarter of 2007. Floating on top of simple piano chord progressions and string accompaniment, Utada’s breathless vocals made the song both haunting and beautiful.

Gimme More – Britney Spears
I can’t actually describe what happened when I heard the song for the first time, besides a lot of jumping, followed by complete stillness to listen closely, followed by giddy hand clapping, again by intense silence, and then manic laughter. No need to introduce this one. It’s not her best, but it’s damn good. Even the haters couldn’t shake the impossibly catchy chorus. If only she was aware. Come back BB.

. The One – Kylie Minogue
Sometimes I wonder if Kylie wrote this little ditty especially for me. I wrote about this song a few entries ago. It’s timeless, iconic, and especially hypnotizing.

Cry For You – September / I Won’t Be Crying – Infernal
During the lonely winter months of the first quarter, music was a bit dire. By now I’ve learned, there’s only one multi-vitamin supplement jam packed with cheap thrills to fill the void of talent: Euro-Dance! Fun, defiant nothings about getting over him and being the bigger man/lady. September’s entry is more heartfelt, but the vocals in Infernal are much more raw sounding. Equally distracting until the pop wheels began to churn once again.

BUT – Koda Kumi – Wait, why isn’t she lyrically gyrating and riffing nonsensically?? I don’t know, but I think I like it…a LOT. It’s as if she’s trying to make a new sound, instead of regurgitating her songs over and over. Dark, broken electronic beats and vocal aerobics. Now this is the kind of Kumi I want.

Umbrella – Rihanna
We’re tired of it. Accept its brilliance, nothing else to see here.

Declare Independence-Björk
Volta was not good. At least, not to me. Too much ballad, and the ballads were too monotonous. It sounds very harsh and judgmental, but Björk has produced “Joga” and “Hidden Place” for goodness sake. She isn’t exactly dull. This one rocked the socks off of the album, though. Using a new instrument called the ReacTable, Björk elicited electric noises never before used in such an interesting way. Her inherently guttural voice is wonderfully excitable throughout the song. Watch a live performance of this to understand how cool the process actually is.

Bamboo Banga – M.I.A.
I’ll admit. I don’t love Kala as much as everyone else does. I myself am an Arular advocate. But I do happen to enjoy many of the tracks off of her second album. Most notably (XR-2 is perfect, but I heard earlier versions for almost a year already), Bamboo Banga. When I heard the song, I was ecstatic to think that the album would build off of this more jungle-esque electro. However, it just doesn’t flow for me like Arular did.

Foundations – Kate Nash
Didn’t want to like it. Didn’t want to like anything by someone who shared similarities to Lily Allen, but lo and behold, I was addicted. It’s like a much more lemon tart-filled version of Lily, with more tongue-biting and less egotism. The spoken bits are genius, and bonus points have been added for the opportunity to sing with a British accent. A pissed off British accent, no less.

Sober – Kelly Clarkson
If only the album could live up to its impossible expectations, this song would have received so much more deserved attention. It truly is the rawest experience on the album, and one that was sorely misrepresented in the public atmosphere. Though at the same time, it would have never performed on radio. The song is by far the most haunting and riveting song of the year. By the end, the listener’s ears are practically pleading for that oh-so-necessary shouting that only Kelly could provide. But as a favor: Please stop straining your voice so much on every other song Kelly. Save it for the best moments, such as the finale of this very song. Thank you. I love you. Why don’t you call?

True Believer – Dragonette
I didn’t get it at first. But then I kept listening. I absolutely love the carousel effect of the chorus, dizzyingly obnoxious and catchy at the same time. The track picks up and slows down, but it was a great tune to relax with during the last of the summer.

Lips Are Unhappy – Lucky Soul
Around the same time as Dragonette’s release, I discovered Lucky Soul. The throwback -band’s album contains many care-free songs resembling great pop music from the 1960’s. This pleading number, though short, is one of my favorites. The intro is pretty much representative of who they are as a group: a simple tambourine intro followed by the ever-increasing drum lead-in, leading up to the ultra-delicate vocals of lead singer Ali Howard. The lyrics are unapologetically dated. However, the shake-shimmy breakdown after the two minute mark is particuarly impossible to resist.

State of Grace – Britney Spears
Without a doubt the injustice of the year, Britney’s true soul-searching and almost-adult mid-tempo love croon is without a doubt one of her best works. Yet it was left of the album in order to keep the Donna Summer vibe afloat. The song is beautiful and sincere. The background sound is somewhat Bohemian. VERY Ray of Light Madonna. I’m thinking “Frozen”-ish. And she uses words that are way beyond her vocabulary like “transient” (not a stretch, but work with me). You have to hear it. Such a shame that the song was not released. It’s not B-Side material, so I fear this track may never see the light of day. And P.S. I would add nearly all of the Blackout tracks and outtakes to the list, from the blip-filled “Radar” to the over-sexualized “Pull It,” but that would be too expected.

Bleeding Love – Leona Lewis
I don’t particularly find her interesting, nor did I bother to catch her debut album, but I could not ignore the massive success of her first single. Well, except for the United States. But seriously, it was so big that she’s even being released here. That’s hard to do nowadays. It’s a page out of the Mariah hand book, but the craft is immaculate. I know Leona’s voice is near perfect…if only she’d do something unexpected.

Call The Shots – Girls Aloud
I’ve spoken about this track already as well. Haunting, convincing, and heartfelt. It’s nice and wintery, yet I see purple and pink when the song plays. Which may be the signs of looming epileptic episodes. Just saying.

And you, what do you think?