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koganbotI suppose that Drake is now helping to sell Wayne rather than vice versa.
Lil Wayne ft. Drake "Right Above It": Starts sorta OK, Weezy lolling around, humming, semi-drama from the programming. Drake's dull and dogged as usual, for over a minute, Wayne finally re-enters, chipmunk half-skipping, but none of the strange "I'm in my own time" flows that make him special, and nothing new to say ("life is a beach, I'm just playin' in the sand"; "guns turn you boys into pussies, sex change," etc.). NO TICK.
Nelly "Just A Dream": The melody has more pop sweets than the Nelly tunes of yore had, which is fine in the chorus, but when scaled-back in the verse results in utter dullness. I foresee this as the opposite of a keeper; when I come across the chorus unawares on the radio I'll perk up, then will be thrown into disappointment as I bump into the recognition, "Oh, this one," and the track fades into lameness. NO TICK.
Adam Lambert "If I Had You": Adam's way of sending himself through the roof and over the top on Idol is the sort of thing that doesn't carry across on record, and he usually doesn't try it. So his tracks end up anonymous, from someone whose personality is the opposite of restrained. This particular cut is a pleasantly pretty Max 'n' Shellback dancepop track, the rock flourishes in the climaxes somehow making this even more nondescript. A recording star - a Timberlake, say - and more peaks and troughs in the arrangement could probably deliver it, and even undelivered the tune's good enough to get this on the borderline, but it fits in with a year of pop not really figuring out what to do with itself. BORDERLINE TICK.
Lil Wayne ft. Drake "Right Above It": Starts sorta OK, Weezy lolling around, humming, semi-drama from the programming. Drake's dull and dogged as usual, for over a minute, Wayne finally re-enters, chipmunk half-skipping, but none of the strange "I'm in my own time" flows that make him special, and nothing new to say ("life is a beach, I'm just playin' in the sand"; "guns turn you boys into pussies, sex change," etc.). NO TICK.
Nelly "Just A Dream": The melody has more pop sweets than the Nelly tunes of yore had, which is fine in the chorus, but when scaled-back in the verse results in utter dullness. I foresee this as the opposite of a keeper; when I come across the chorus unawares on the radio I'll perk up, then will be thrown into disappointment as I bump into the recognition, "Oh, this one," and the track fades into lameness. NO TICK.
Adam Lambert "If I Had You": Adam's way of sending himself through the roof and over the top on Idol is the sort of thing that doesn't carry across on record, and he usually doesn't try it. So his tracks end up anonymous, from someone whose personality is the opposite of restrained. This particular cut is a pleasantly pretty Max 'n' Shellback dancepop track, the rock flourishes in the climaxes somehow making this even more nondescript. A recording star - a Timberlake, say - and more peaks and troughs in the arrangement could probably deliver it, and even undelivered the tune's good enough to get this on the borderline, but it fits in with a year of pop not really figuring out what to do with itself. BORDERLINE TICK.
