Will Top 40 Use Justin Timberlake's R&B-Flavored "Suit & Tie"?

RATING: 4/5

I hope so!

Justin Timberlake, after a weekend filled with anticipation, has dropped his first single in six years, "Suit & Tie", featuring Jay-Z. I'm pretty sure no one knew what to expect from Timberlake, especially after so long away from the music world (on his own, at least), but I doubt they were expecting a straight-up R&B.

"Suit & Tie" has a chilled-out, throwback soul vibe to it, a song you could do a mean two-step to. The chorus and hook are smooth, funky, and just plain old fun, and Justin's hit-making falsetto is as silky as ever. While it certainly teeters on the line between fresh and dated, there is something so joyous, and sexy, about this song that you're probably better off just putting on your best shoes and hitting the dance floor. Jay-Z's feature definitely flips the script a bit and it is slightly jarring, but not entirely unpleasant. The intro, on the other hand, is better off being cut from the eventual radio edit.

Speaking of radio, how will Top 40 respond to such a track? Remember, 2006 was seven years ago, and pop is an entirely different place than it was when Justin reigned with FutureSex/LoveSounds. All I can say is that many people thought "SexyBack" would flop when they first heard it. I actually remember listening to the song on AOL Music and recoiling in horror. Lo and behold, it's an iconic song that launched Timberlake into megastardom. So, I wouldn't count Timberlake out yet. In fact, he might just change the landscape of the mainstream with this song; we've been overdue for a shift from generic dance-pop.

The song is currently on iTunes, but you can preview it below:

"Next To Me", Emeli Sandé's Amazing Single That America Ignored (The First Time)

5/5

The general public would be surprised to learn that Adele's 21 wasn't the best-selling album in the UK in 2012.

It was actually Emeli Sandé's debut album, Our Version of Events, that topped the year-end sales charts across the pond.

The album was also released last year here in the States, but didn't do much, peaking at #28. It would have done much better had they actually pushed the album's lead single "Next To Me" to pop radio. Well, it's better late than never, and Sandé is getting a legitimate push in America. Thank goodness, because she is too exciting of a talent to be ignored. I cannot believe I am invoking the name of Whitney Houston, but Sandé is giving me "How Will I Know" vibes. Not that "Next To Me" is a frothy dance-pop gem, but it is such an instant, undeniable record that I wouldn't be able to explain it's chart failure except to say that radio programmers are idiots. It is a fascinating, uptempo, gospel-pop tune that would certainly make Whitney proud. The hook is brilliant and warm, and Sandé's voice is powerful and crystal-clear.

Forgive me for what may seem as overzealous praise, but I don't get this excited often. I can't help but think of other humungous pop debuts, like Mariah and "Vision of Love", or Leona with "Bleeding Love". Mark my words, if her label plays it right, Emeli Sandé will become the next big name in pop music.

If you haven't heard "Next to Me", please listen below!

What About Them? The Saturdays Introduces Themselves to America

3.5/5

Being an international artist breaking into the US market sucks.

With there being so many artists in the US already, it's very difficult for an artist from outside the 50 states to make a significant impact, no matter how popular they are worldwide (and before you mention "Gangnam Style", we know that song is basically over at this point).

The latest to try cracking America is the UK girl group The Saturdays. The five-piece are following the Monkees route, by launching a reality series on E! alongside their music. US listeners will be introduced to The Saturdays with "What About Us?", the first single from their upcoming fourth album (they've released three albums prior in the UK and Ireland). Unfortunately, this song doesn't really do much to distinguish the girls from other dance-pop on the radio. That said, it is an incredibly listenable song (I've been playing it virtually nonstop all day) with an easy chorus and hook. The reggae-lite flair it has is kind of confusing and unnecessary, though. Honestly, I would have repackaged one of their old songs, like "Up" or "All Fired Up", and used that to bring them stateside, but this song works in a fun, frothy way.

We'll see how their reality show, due to premiere this month, will help them achieve American success, but it's not too hard to see our audience take warmly to this song.

Check out the song below:

Swedish House Mafia's "Don't You Worry Child" is Flawless

5/5

So, remember when I dragged mainstream electronic dance music last night for being generic and repetitive?

Well, if artists were as interesting as Swedish House Mafia, I would've been made invalid.

Unfortunately that's not the case, so that means we're just gonna have to contend with this excellent Scandinavian Europop gem. Everything about "Don't You Worry Child" is everything I was asking for last night from EDM, which I was knew was fairly possible: substantive lyrics and at least some kind of experiment with production. The title lyric is not just one of the most effortless hooks of the year, it also has an euphoric message, which is quite necessary in the current climate we're in. Vocalist John Martin delivers a brilliant performance here, putting many, if not all, of his contemporaries to shame. The guitar-laced, piano-driven synths wrap it all up into an irresistible pop package that is deserving of its Grammy nomination.

Seriously, Guetta and Harris should be on their knees thanking God that Swedish House Mafia is about to break up, because they blow them out of the water with such ease that it's embarrassing.

Tamar Braxton Has Arrived with "Love & War"!

Tamar Braxton's got a new single!

4/5

If you have ever seen an episode of Braxton Family Values, then you know all about Tamar Braxton.

The queen of "dot-com" has been harping on about a music career since the first episode, but I wouldn't be the first to doubt it ever happening.

She's proved us wrong, big time.

Tamar has dropped the first single from her upcoming album today on iTunes, titled "Love & War". To the surprise of the internet, the song is sitting at #2 on the iTunes chart after only hours of release, which is insane for a song like this. It is a pure, classic R&B ballad, the music that only Melanie Fiona and, to some extent, Keyshia Cole are making now.

But, just like her reality shows, it's all about Tamar.

Anyone who ever accused her of not putting her mouth where her money is can officially have a seat. Tamar takes no prisoner on this song, making sure everyone listening knows that she can sing as well as her famous singer Toni. And boy, can she sing. While she has that signature Braxton deep timbre, her voice seems to be more flexible than Toni's, which probably allows her to play more acrobatics, especially with her upper register. However, she mostly sticks to the melody and her gorgeous tone shines throughout the whole track, even overshadowing it.

For someone known for being loud, "Love & War" is an elegant introduction to world according to Tamar. With the support of manager-husband Vincent Herbert and Lady Gaga (who is super-tweeting the iTunes link), Tamar may finally get that fame and respect she craves, for the right reasons.

If you haven't heard the song, watch below. Click here to buy the song on iTunes!

Macklemore's "Thrift Shop" is (Almost) Better Than Macy's

4/5

Once in a while, a song comes along that is not just quirky and cool, but also signifying the introduction of a real talent.

No, I'm not talking about Psy and "Gagnam Style".

The song I'm talking about, which is currently making its way up both the Spotify and iTunes chart is "Thrift Shop", a rap song by Seattle native Macklemore and his DJ partner Ryan Lewis. Besides having an insanely catchy chorus, sung by Wanz, he has one of the tightest flows I have heard in a long time. I was surprised, then impressed, to learn that Macklemore was a white rapper, which already has a testy history with more misses than hits (Kreayshawn comes to mind for the former). That said, he definitely comes across as a hit right now, with his debut The Heist doing considerably well (I haven't had the pleasure of listening to it, but its on my to-do list, for sure). Ryan Lewis also deserves praise for this excellent record. The production has a funky, old-school vibe, but is more than fresh enough to keep people's considerably short attention spans. It doesn't seem extraneous or unnecessary; it works perfectly with the hilarious lyrics.

The pairing of these two guys seems to be a match made is audial heaven. Listening to a rap song hasn't provided me with this much fun in a very long time.

How Phillip Phillips Snuck Up On The Pop Public With "Home"

4/5

The tenth anniversary of American Idol seemed destined to be it's last major milestone as of last May. Even with a superstar judging panel, the reality TV show was beyond over-the-hill and hadn't produced a legitimate pop star in years (yes, I said it, it's been years). I didn't even watch this past season, and I didn't care to even look up who won the season either.

Which worked exactly in Phillip Phillips's favor.

The charmingly indie singer was so unexpected that it was refreshing. Let's be honest: no one, at least in the mainstream, expected anything more than a twenty second long surge in coronation single sales before fading into obscurity. But then the Summer Olympics came along, and their choice of his song as one of the themes for the US team pushed Phillips into a spotlight much greater than Idol could offer. What will shock many people is that "Home" hasn't left the top 20 of iTunes at all since July. Even more so, the single just hit #1 on iTunes, months after its release.

More surprising than "Home" and its sleeper hit status is that the song is actually quite great for an American Idol winner's single. While it still carries the message of perseverance and hope through struggle and all of that, there is something simple and unassuming, just like the singer himself, that lends it an "awww shucks" charm. On paper, it shouldn't work for Top 40, but it does. "Home" runs in the same lane as Fun., but a lot more mellow and just a dab of folk. Then there is his voice, which is one of the strongest to have come from the show in years (sorry Lee Dewyze). It all comes together in a very clean, but authentic package.

Phillip really has come from behind to take the mainstream by storm, as evidenced by his surprising chart performance (he may even score a #1 single in the coming weeks). I have to say, it's kind of exciting to see Idol producing a true star again. Hopefully it will be a pattern.

I'm Kind of Obsessed with Taylor Swift's "I Knew You Were Trouble"

4/5

There are quite a few things I could live without, one of them being Taylor Swift (even though I consciously nominated her for Artist of the Year). Frankly, I find her insistence on acting about three years younger than she actually is very annoying ("Today was a Fairytale" was the straw that broke the camel's back for me).

However, I will freely admit that she has a knack for writing the most irresistible hooks in pop music today, hence my inability to get her latest single out of my head.

"I Knew You Were Trouble" is the most unabashedly pop record she has released to date, with its dubstep influences, particularly within the chorus. The verses bare a resemblance to her signature hit "You Belong with Me", with a lot more sass then we're used to from the country princess. But again, the song's money spot lies in the hook, which is virtually impossible to remove from your head. Seriously, even walking through campus I find myself singing the chorus's first line. Swift does a great job of using dubstep to push the song along and giving it a very strong rhythm. Instead of just making a dubstep song, she makes dubstep work for her, which speaks volumes to the artistry that has won her so many accolades. Her voice definitely isn't the strongest card she has, but it doesn't matter much when you consider her contemporaries in the pop field.

At the ends of the day, Taylor Swift is one of the most reliable artists in music, not just in sales (she's already sold 2 million copies of Red in the US alone) but in her artistic identity. I would be more accepting of her if she grew up a bit, but if this song is any indication, she's already doing that, so who knows? I might just pick up a copy of her album.

Enjoy Taylor Swift? Vote for her in the 2012 BWU Awards!

Isn't "Little Things" by One Direction Just a Tad Bit Rude?

Do you like their little things?
(no pun intended, promise)

4/5

As Santana Lopez from Glee would say, "so freaking charming."

That's the only reason that British teen titans One Direction can get away with releasing "Little Things", the second single from their #1 album Take Me Home.

Written by indie artist Ed Sheeran, the delicate ballad is about appreciating the "little things" of a lover's body. Apparently these little things all suck; these are things that people, especially women, would prefer to not have pointed out. I mean, no one really wants to hear about being loved in spite of their stomach, thighs, crow's feet (the crinkles by your eyes), and having to squeeze into jeans. Also considering who's singing the song, a group of immaculate-looking boys who make girls go bat crazy over the mere sight of them, "Little Things" dangerously treads that line leading into "douche" territory.

Luckily for One Direction, they pull it off, because they are genuinely good singers. Even as they sing the more cringeworthy lyrics, there is a kind of heart-squeezing vulnerability that can make even the most hardened cynic swoon just a bit. There are some very strong voices in One Direction, but no one upstages the other in this song (although I enjoyed Liam and Harry in particular).

Slightly rude lyrics aside, "Little Things" is an earnest effort from One Direction that will help them add to their rapidly growing fanbase. It's nice to know that even with outrageous levels of fame, the boys can remain humble.

If only one of their contemporaries would catch that hint (sorry, couldn't help a little dig)

Check out the song below:

Girls Aloud's New Songs "On The Metro" and "Every Now and Then" Are Pretty Flawless

UK girl group Girls Aloud have always been good for some excellent pop gems in their ten-year history (yes, it really has been that long).

What's good to know is that hasn't changed at all as they released their second greatest hits album Ten on Sunday in the UK. Along with classics like "Call the Shots" and "The Promise" and new singles "Something New" and "Beautiful Cause You Love Me", the five piece have tacked on two new tracks for their fans to salivate over. And it's worth the panting, because both songs, although not single-ready, are worthy additions to an excellent catalog.


"Every Now and Then" is probably the most "Call the Shots"-esque song of the new tracks, with more of a kick to it. It's about reminiscing about a past relationship. It's also a lot more danceable, which is never a bad thing. It certainly calls to mind Sophie Ellis-Bextor and her song "Bittersweet". Although I wish Cheryl didn't lead the whole song, it doesn't take away from the song at all. It's a very classy and smooth effort, if not the most memorable one they've released. 3.5/5

"On The Metro" sits on the same coin, on the other side. It is a funky, sexy uptempo track about hooking up with a guy but not getting his number (hence the crying on the train). It has that classic irreverent Girls Aloud stamp we've seen in songs like "The Show' and "Love Machine", but again, keeps its class and maturity. It's very easy to imagine hearing this song in clubs all over Britain, and maybe on some metros too. 4.5/5

If you were debating whether or not to pick up Ten, let these two new tracks (as well as the epic "Something New") erase all doubts. Girls Aloud are back, and we need them!

Fine, Olly Murs' "Troublemaker" is Catchy, But Why Is It Beating Girls Aloud on The Charts?

I haven't written about it, but Girls Aloud's comeback single "Something New" is a flawless piece of pop that should have easily topped the UK charts. It's for charity, after all. A children's charity. I mean, who doesn't love children, and charity, for children?

Clearly not the people flocking to iTunes to cop the new Olly Murs single! Grrr!

The X Factor runner-up is currently leading the midweeks with "Troublemaker", his new single featuring "rapper" Flo Rida. I was completely ready to blast the song to hell, in deference to my girls, but I put my bias aside for a second, just to give it a shot.

Turns out, it's not that bad at all.

I mean, it's a blatant and shameless Maroon 5 rip-off, but its a darn good one. At the very least, it's very damn catchy and charming, just as you would expect from Olly. He somehow even makes Flo Rida tolerable, even enjoyable.

Had it been any other week, I would have been all behind this song topping the charts, but why, just why, does he have to snatch the #1 from Girls Aloud?

Ugh.

Check out Olly's new single below:

Leona Lewis Wants to "Collide" with The Charts Again

Leona Lewis "collides" into a comeback?

British songstress Leona Lewis chose a pretty interesting time to make a comeback.

Adele is currently making all competition irrelevant with her landmark album 21, even becoming the best-selling digital album of all time in the United States. Ironically, when they both broke America in 2008, Leona was the biggest star, with her #1 smash "Bleeding Love".

With her new single, Leona is hoping to replicate that success and prove who the true queen of British pop is.

To achieve that goal, Leona has turned to the producer of Katy Perry's "Firework" and Rihanna's "Only Girl (In The World)" to craft her a summer smash. The result is "Collide", a very beautiful, elegant synthpop ballad about being someone's support during rough times. 

To be perfectly honest, the song itself isn't that remarkable. It sounds like something is missing in the production that really would've made it epic (kind of like "Outta My Head"). Leona and her absolutely stunning voice is what makes this song really work. Her belting in the chorus is filled with such emotion and power that, when paired with the gorgeous piano-driven melody and the thumping beats, it creates this Kylie-esque euphoria that will be a smash on the dancefloor.

You can't say that the X Factor queen isn't trying something new (although not really, since Katy and Rihanna have been doing it since last year). What's great to know is that despite Leona's foray into dance-pop, she continues to let her brilliant vocal chords lead the way.

"Collide" is out in the UK on September 4th.

Check out "Collide" below and let me know your thoughts:

Will Young's "Jealousy" Is Flawless, Elegant Pop

Pop Idol winner Will Young is back!

The singer, who got some US shine last year when his UK smash "Leave Right Now" was used as American Idol's goodbye song, is releasing a new album in August called Echoes. To kick the album off, he released the first single "Jealousy" to radio this morning.

"Jealousy" is pretty standard fare for Will Young at this point. Not that standard fare can't be fantastic. The song has an infectious ethereal disco feel, á la Sophie Ellis-Bextor or the lightest of Kylie's discography ("Fragile" almost instantly comes to mind). The lightweight synthy sound does wonders for Will's unique, strong voice.

Will has seen some struggles lately (I still don't understand how the genius "Hopes and Fears" flopped the way it did), but I think "Jealously" will put him on the right track.

No pun intended.

Check out Will Young's new single below. Like it? Share your thoughts!

Maroon 5 and Christina Aguilera Revive Pop Careers with "Moves Like Jagger"

I haven't really watched The Voice this summer, but it is clearly a huge summer smash that is increasingly making American Idol look irrelevant.

Besides innovating the singing competition genre, it has also brought together four of the most relevant pop stars together as judges. As you would hope, sitting in those four big red chairs has helped foster enough connection to inspire a collaboration.

The first Voice inspired pairing is Adam Levine and Christina Aguilera, on Maroon 5's new single "Moves Like Jagger".

Honestly, the timing couldn't have been any more perfect for all parties involved. Maroon 5 has had a lackluster era with their album Hands All Over, with the singles "Misery" and "Give A Little More" underperforming. The drama of Christina Aguilera past fourteen months goes without saying, although I will just say one word: "Bionic".

Frankly, both artists need a hit, badly. Thankfully, they've found it in "Moves Like Jagger", which has "summer smash" written all over it. A tribute to the sexual prowess of Mick Jagger, the song is incredibly upbeat and, with its electronic embellishments and pulsing beat, incredibly danceable without sacrificing much of their alt sound. No song Maroon 5 has ever released had such an instant impact and enjoyability, and hearing it the first time, knowing it was them, was very exciting. This song was destined to smash even if Christina wasn't on it, but it's great to hear her. In fact, she sounds a lot more authentic here than on anything from last year's messy Bionic. She sounds like the pop diva that everyone, including she, knows she is. It's refreshing.

Everything about this is refreshing. It's refreshing to hear a pop song that is fun and club-ready without being mindless. It's refreshing to know that two huge pop acts can dust themselves and put out an absolute smash with ease. And for me, it's refreshing to know that the "song of the summer" competition hasn't already been handed over to Katy Perry.

Beyonce's "Love On Top" Is A Modern Motown Twist

Unless you accidentally kicked your Ethernet cable out of the wall this week, you know that Beyonce's album 4 has leaked three weeks in advance.

Of course, I've spun through the album, minus the singles (I still have "Best Thing I Never Had" on heavy rotation) to see whether Beyonce has completely lost the plot. An album review is coming later (and will be posted first on Blogcritics.com), but for now, I thought I would hone in on my favorite track from the album.

The track is "Love On Top", and it is one of the album's true great surprises. After the reggae electropop of "Run The World (Girls)", I had quite a few ideas about what the album would sound like (all of which lead to a mess). I certainly did not anticipate that she would take a visit to Hitsville USA. I'm glad she did, because although "Love On Top" is a obvious tribute to the effortless Motown era, it sounds very current and refreshing. It appears that Beyonce found inspiration in sister Solange's 2008 album Sol-Angel and the Hadley Dreams, which was a critical darling for its re-imagination of the 60's sound.

"Love On Top" is also a very nice change of pace from the anger present in "Run The World" and "Best Thing I Never Had". Beyonce sings about finally being put first by her lover, and if the joyous, passionate energy of her voice is any indication, she is very satisfied. She's so happy, in fact, that she pushes the song's key up with every chorus repeat, hitting some incredible high full voice notes.

It's doubtful that this song will ever see the light of radio play (it seems program directors are obsessed with mindless club filler), which in itself is proof of Beyonce's riskiness. "Love On Top" is proof that, despite the troubling lead-up, 4 is an album to look forward to, even if to just see how far pop's biggest diva is willing to push herself.

Check the song out below and share with me your thoughts in the comments.

Joe Jonas' New Single "See No More" Is Really Old (By Pop Music Standards)

With Kevin married off and Nick making music with his own band, you didn't expect Joe to be sitting around twiddling his fingers, did you?

Nope, the middle Jonas Brother has been doing his own growing-up process, by recording his own solo album.

Today, alongside Coldplay and Paramore, Joe released "See No More" the first single from his debut album. Surprisingly, Joe co-wrote the song with Chris Brown; it's a pretty odd collaboration, huh?

After listening to the song a few times, it sounds like a pretty dated one, too (and not in the cool retro way). "See No More" is basically the result of throwing the Backstreet Boys' "Incomplete" and Jesse McCartney's "Leavin'" in a blender and slapping some new lyrics on the cup. Even if there had been anything particularly special about the lyrics (sorry Chris, it's pretty generic), the song has been done before.

Joe's singing doesn't help elevate the song. While his voice has improved since the irritating squealing of the Jonas Brothers days (which was only two years ago), he still has a limited range that is stretched a bit too thin in some parts of the song. To be honest, Joe sounded a lot more believable singing the pop/rock-lite songs with his brothers than he does here.

Joe's venture into solo-land is as necessary as it was expected, but I think he should re-consider the genre path he's chosen. While I appreciate him accepting his role as a pop star instead of a serious rock artist (like Nick), taking the R&B/pop route isn't working that well for him. His fans will be satisfied (they would be satisfied if he sang the phone book, though), but "See No More" is a long way from establishing him as a substantial pop act.

Check the song out below and let me know your thoughts in the comments section:
 SeeNoMore(Radio) by TheProphetBlog

Nicola Roberts' "Beat of My Drum" Has Been Released, And It's Absolutely Amazing

It's finally here!

Girls Aloud member Nicola Roberts has FINALLY dropped her first single "Beat of My Drum", giving the first play to Scott Mills of BBC Radio 1.

That teaser simply didn't this song justice. "Beat of My Drum" is absolutely amazing, easily one of the best singles out of the UK this year. Nicola's voice is so unique and mysterious, ranging from robotic in the verses to pseudo-gothic mystical in the bridge to dance commander in the chorus. The production, done by "Pon De Floor" mastermind Diplo, is absolutely amazing. It has his signature mark, but it's a lot more crisp and glacial than his other songs. The breakdown after the second chorus is an absolute killer. The relatively short length also works in the song's favor, demanding repeated listens.

No shade intended, but Beyoncé should kill Diplo for giving her reheated "Pon De Floor" for her single "Run The World (Girls", while Nicola received this epic production.

"Beat of My Drum" is going to honestly rule the summer. All I need is "Porcelain Heart" (the song's b-side) and my summer playlist is complete!

The single will be released to UK iTunes on Sunday! Get it Brits!

Beyoncé Is Finally Back With "Best Thing I Never Had"

Forget what I said about "1+1".

"Best Thing I Never Had" is the single she should have come back with.

The diva released the song to radio stations as the official second single from her upcoming album 4. Despite the lukewarm reception to "Run The World", I have a very good feeling that radio is going to eat this song up and put Beyoncé back on the top where she should be.

Ironically, "Best Thing I Ever Had" takes the best elements of "Run The World" and "1+1" and combines them with the most listenable pop melody Beyoncé's put out since 2006's "Irreplaceable". There's her newfound penchant for edgier lyrics and cursing (I'm pretty sure I've never heard her say either "sucks" or "ass" before). Then there's her explosive vocal performance; her singing in this song ranks as one of her best ever. The end of the middle eight alone renders every female pop singer out there right now irrelevant. The song's melody seems to borrow from a few sources (I immediately heard Rihanna's "Fading" in the beginning) but it is one of the best I have heard this year.

The song is essentially an evolution from "Irreplaceable", still one of best pop songs of the past decade. It is exciting to hear Beyoncé try new things without completely deviating from what we've come to expect. She kind of did that with "Run The World", to almost disastrous effect, but "Best I Never Had" is definitely up the right alley. I feel like I can finally say Beyoncé is truly back, ready to take the throne back.

What do you think of Bey's new song?

Scotty McCreery's "I Love You This Big" is Pretty Solid, For An American Idol Winner's Single At Least

Congratulations to Scotty McCreery for winning the tenth season of American Idol.

But now, with all of the glitter mopped up at the Staples Center, it is time to hear whether this guy can actually make it as the superstar the singing competition desperately needs. McCreery's (and runner-up Lauren Alaina's) first single weas released this morning, and per usual, it quickly shot up to the upper reaches of the iTunes chart.

Scotty's single is called "I Love You This Big". It's a straight-through country ballad, dedicated to a girl who he loves a lot (if you consider "this big" a lot). There's nothing incredible about the song itself; its sounds like something Garth Brooks would've recorded if he was sixteen. What is pretty incredible is Scotty's voice. For a kid who still hasn't graduated high school yet, it sounds like he's been a staple at the Grand Ole Opry for years. He has a very rich deep voice, with that country twang that makes even the corniest lyric sound really, really sweet, like the top of the chorus.

Scotty will definitely need to upgrade from cookie-cutter material when he releases his debut album, but for right now, he has a voice that will carry him far in the country genre. Hell, he might even have a pop crossover or two.

Rating: 7/10

Lady Gaga's "Scheiße" Is Her Best Record Since "Bad Romance"

She almost made it, but even the seemingly indestructible Lady Gaga has suffered the inevitable of this musical era: the leak.

Lady Gaga's ridiculously highly anticipated album Born This Way leaked two days ago and I've spent the last 48 hours listening to all of the tracks (I pre-ordered the special edition on Amazon, by the way) virtually non-stop. To be honest, I went into my listening spree with Gaga's proclamation that BTW was the best album of the decade in mind, which probably wasn't wise. Reviewing an album with preconceived notions is never smart, unless you are trying to be deliberately biased.

Luckily for me, I chalked up her statement to the usual Gaga braggadocio and didn't take it too seriously. It made for an excited listening experience.

After hours of rapid listening, jumping on my bed, dancing in my room, walking around the neighborhood with my iPhone on full blast, and irritating the hell out of my mother with my auditory antics, I made a pretty significant decision about the album, and Gaga's discography overall.

There is a song on the album called "Scheiße". If you are an active music and/or fashion fan, you've already heard the remix used in the Mugler Menswear Fashion Show months ago. Back then, it sounded pretty awesome, a new direction for the pop phenomenon. It was the track I was desperate to hear most from the album.

The album version of "Scheiße", suffice it to say, met my expectations on the first listen.

By the 30th listen, I realized it was an absolute masterpiece.

"Scheiße" is both classic Gaga and Gaga in forward motion. Produced by a top-form RedOne, the beats are razor sharp, dark and twisted, yet crisp and clean. It's an incredible sound, only buoyed by the fascinating structure of the lyrics. She starts the song saying she can't speak German, but she can if her lover likes. She then unleashes a bunch of German-sounding gibberish, coldly, yet defiantly. In a surprising twist, the song ends up as an anthem of female empowerment, with Gaga crying for strength with the "scheiße" (that's real German for shit).

The whole song gives off a glacial, euphoric, incredibly danceable vibe that is best suited for a party in Gaga's Russian bathhouse from "Bad Romance". Speaking of that iconic single, "Scheiße" is its true heir (sorry "Judas"), sounding like nothing else on radio while maintaining a mainstream pop sense. It's the kind of song that, if released, could change the definition of pop music, kind of like what "BR" did.

Listening to this song alongside the rest of her music, it's kind of mind-boggling how much she has grown and changed since the days of the disco stick. What's clear is that she changing the right way, morphing into a superstar we haven't seen since (I know how cliché this sounds, by the way) Madonna.

My only hope is that her next change leaves behind those unfortunate horn things.

Rating: 9.5 out of 10