Austin Mahone feat. Flo Rida – “Say You’re Just A Friend”
Newcomer Austin Mahone is the latest artist to build a song around an interpolation of Biz Markie’s greatest contribution to pop culture, and even though it comes out as 100% cooke-cutter Top 40, “Say You’re Just A Friend” gets a pass for the huge nostalgia buzz it gives me. Not because of Biz Markie—man, I wasn’t even born until 1989—but because “Just A Friend” by Mario was a hit when I was twelve years old and just getting into pop music. Most things that remind me of the seventh grade send me spiraling into self-doubt and confusion, so that should give you an idea of how much I liked that song.
But the real noteworthy part of this song is Flo-Rida, who continues his transition from rapper to singer with a guest verse that relies more on melody than lyrics. His work here is closer to rapping than his section of “Troublemaker,” but the melody is too prominent to be ignored. Hey, do you think people will buy it if I start referring to Flo-Rida as a “one-man Bone Thugs-N-Harmony?” Probably not, right?
Lyrically, this might be some of Flo-Rida’s best work ever. He plays the Ludacris to Mahone’s Bieber, reminiscing about a young love that went sour. When has Flo-Rida ever sounded this relatable? Even when he’s listing off a bunch of his singles, it comes off as genuine enthusiasm rather than self-aggrandizing. Maybe that Biz Markie interpolation just makes anyone seem charming.
Another thing: I don’t want to be mean to Mr. Mahone, because dude is only sixteen, but I think he and Flo-Rida are about on the same level of singing ability. It sure sounds like they’re equally reliant on auto-tune.
Will.I.Am feat. Britney Spears, Diddy, Hit-Boy, Lil-Wayne & Waka Flocka Flame – Scream and Shout (Remix)
Right, because the original wasn’t awful enough, why don’t we make it longer and even less fun? “Scream and Shout” was a club song that failed on every conceivable level: not only did the low-key, repetitive music have zero chance of getting anyone on the dance floor; it makes being in the club sound dull and irritating. That’s an accurate impression of my clubbing experiences, but I doubt it’s what they were going for. And now the official remix is out and I had trouble getting through even two listens of this six-minute song. That’s twelve minutes that I could have used to watch an episode of Adventure Time or go on Tumblr or listen to this one Morrissey song I’m really into five more times. A little gratitude would be nice, that’s all I’m saying.
Will.I.Am’s post-2008 musical output is across-the-board annoying, but it can sometimes be interesting to hear him try to shift pop-music towards low-fi chiptune. Anyone who remembers “The Hardest Ever” knows that it’s never interesting to hear him rap, and the fact that he gave himself such a prominent verse in this remix feels like a straight-up insult. I don’t know which part is more annoying: the blatant plug for his tacky iPhone add-on IAm Foto Sosho or his drastic misapplication of the term “rock ‘n roll.”
How does everyone else do? Even though he’s a thousand miles from his sonic home-turf, Flocka gets the best verse by far, and that’s coming from a late-period Lil Wayne apologist. Yeah, he’s been on auto-pilot ever since he got out of prison, and his verse here adds to our dangerous national surplus of “All Eyes On Me” references, but you can almost catch a glimpse of that old-school Wayne charm. If you squint.
Hit-Boy uses up the only semi-clever line he’s ever going to have, so I hope it was worth it, and Diddy’s contribution is laughable where it’s supposed to be exciting. His hype-man persona is surprisingly awful for someone who’s done little beside hype people up for decades. No one has ever made me want to “turn up” less. And then he ends the song by repeating the phrase “This is a super black man remix” over and over. I don’t know, man, this whole thing’s just a mess.
Maroon 5 – Daylight
Maroon 5 is going through a lot of trouble to distract you from the fact that “Daylight” is a dull song, musically listless and lyrically far too reminiscent of “Save Tonight” by Eagle-Eye Cherry. And I hate to admit it, but they’re doing a bang-up job.
The version that the band put together with the reliably awesome Playing For Change is especially successful at tricking you into enjoying a Maroon 5 song. Their best decision is keeping Adam Levine and his whiny voice off-stage for a full minute, and their worst decision is bringing the whole band in for the rest of the song. It’s not enough to totally ruin the song, but I do flinch whenever the video cuts from someone doing their thing with a cello or a didgeridoo to some cell-phone quality footage of those doofuses playing in a crowded arena.
The nine-minute “Daylight Project” version is less of a musical achievement, but anyone interested in seeing a cross-section of humanity represented through vlog should check it out. The breadth of the human experience this video contains is limited by the fact that it’s made up of Maroon 5 fans (a demographic that tends towards the young and female), but it’s still a fascinating glimpse into the lives behind the fandom. This song is a bizarre fit for the two world-spanning videos propping it up, but if you can ignore the extra-long instrumental playing behind this version, you’d be stupid not to be just a little moved.
And since it’s been a while since I reminded everyone what a mushy, emotional wuss I am, I’ll just say that I got choked up at what happens at 7:48.