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jdiep95 · 4 years

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Mariah Carey: Top 10 Remixes

In continuation of celebrating Mariah season, and “All I Want For Christmas Is You” finally becoming a #1 single, I am sharing with you my “Top” lists of MC songs every Monday and Tuesday up until the 25th. After talking about the Top 10 Most Iconic Mariah Carey songs, it’s time to move on to the Top 10 MC Remixes. Come back next Monday for the Top 10 Underrated MC Bops. All songs mentioned these lists can be found on streaming services (e.g. Spotify, Apple Music). That means deeper cuts, but fan favourites, like the “Someday (New 7” Straight)” remix, the “Never Too Far/Hero” medley, and “H.A.T.E.U.” remix ft. OJ da Juiceman, which aren’t available, aren’t included; the aforementioned remixes are, however, available on YouTube, and they definitely deserve a listen.

You’ve listened to remixes where they’ve brought in a guest rapper, something that Mariah popularized in 1995 as you’ll see below. You’ve also listened to remixes where they’ve brought in a featured singer, something that Mariah had also done in 2000, when she re-released the “Against All Odds (Take A Look at Me Now)” single with Westlife. But you’ve never heard a remix until you’ve heard a MC remix. Somehow we’ve gotten the perception that Mariah is lazy because she doesn’t perform the choreo or doesn’t sing the song — point them in this direction. Up until the 2010s, Mariah insisted doing remixes her way. She’s not just pulling in DJs, or rappers, or featured singers to do all the heavy lifting in remixes, Mariah incorporates new elements, sometimes practically changing up the genre of the song. And she re-records, sometimes new vocals, sometimes the entire track.

Is the list TL;DR? No worries. I compiled each list into a respective playlist, starting from No. 10 and ending at No. 1, so you get to listen to the Top 10 MC Remixes while on the go.

https://open.spotify.com/user/jdiep95/playlist/6UfiZPeq4yA1fq4i87CUwq?si=iHpF9-BAThW8m26GKSKyiA

10. A No No ft. Shawni

Year: 2019

“A No No” is an underrated bop off of Mariah’s most recent studio album, Caution. Caution, like many of Mariah’s comeback, is a testament that she’s still got it; however, unlike the couple of albums before it, Mariah ditches most of the post-production, and delivers one of her strongest albums. “A No No” uses a sped-up sample of Lil’ Kim’s "Crush on You”, with the original mix using excerpts of Biggie’s rap. The remix featuring Shawni drops Biggie’s rap. This isn’t the first time Mariah opted for a female rapper for the remix: In 1999 for the “Heartbreaker” remix, MC dropped Jay-Z for Da Brat and Missy Elliot. “A No No” is a feminist song about cutting off liars and cheaters, and enjoying the single life; Shawni’s contributions add to the latter, admitting: “To all my exes need to tell you that I’m sorry/That I didn’t leave you sooner/I settle for less, and that is exactly what I been getting.” This remix isn’t perfect — the melody and the structure remains the same, and Mariah only records a couple of additional inflections. The best part about this remix, that’s absent from the original mix, is the addition of a series of ascending melismatic whistles near the end. You can’t help but feel like something’s missing from the original mix, and MC lets you know it in the remix.

9. Fantasy (Bad Boy Fantasy Remix) ft. O.D.B., Sean “Puffy” Combs

Year: 1995

Why the “Bad Boy Fantasy Remix” is so iconic was already discussed in the Top 10 Most Iconic list: It introduced the featured rapper formula to pop music, and paved the road for its successors like Beyoncé’s “Crazy in Love” or Rihanna’s “Umbrella”, both of which features Jay-Z. The remix features rapper O.D.B., who, by the time the remix was released, had started a solo career separate from the Wu-Tang Clan. The release of the "Fantasy" remix is entrenched in racial politics. Columbia Records and Sony Music feared the inclusion of O.D.B. would jeopardize the squeaky clean, family-friendly, racially-ambiguous image they had built for Mariah. In the remix, a lot of the pop production is stripped away, leaving the bass beat as the foundation of the song; Mariah sings on top of this. "Fantasy" sampled “Genius of Love” by the Tom Tom Club, and in the remix, the sample is echoed in the bass beat. The bridge of the original mix, which also samples “Genius of Love”, became the remix’s chorus. The structure changed, and “Fantasy” itself became slinkier, less saccharine. The producer, Sean Combs, better known as P. Diddy, recalled working with O.D.B. all through the night to record the rap; O.D.B recorded sentences at a time, whenever the inspiration hit, or whenever he was awake. Regardless, Mariah’s insistence to collaborate with O.D.B, and to release the remix was an industry-changing move.

8. Honey (So So Def Remix) ft. Da Brat, Jermaine Dupri

Year: 1997

The “Fantasy” remix, despite it being iconic and timeless, was mostly work in post, especially trying to piece together O.D.B.’s individual recordings to form an actual rap. The So So Def remix of “Honey” was a completely different affair with the song reworked and re-recorded. The bass line of the original mix of “Honey” samples “The Body Rock” by the Treacherous Three, while the tinkling piano line uses a sample of “Hey DJ” by the World’s Famous Supreme Team. The So So Def Remix foregoes “The Body Rock” sample, and also samples a different excerpt from “Hey DJ”. The accompaniment itself sounds like a midi file off of a video game, but it’s actually the hook from the Jackson’s 5 “It’s Great to Be Here”, Mariah’s first time sampling a another pop song. This “Honey” remix is a novelty. As a critic, you would expect another dance remix or something that really leans into the hip-hop, and instead you receive a feat that reduces the original dance track to 8-bit music with MC’s vocals as the main attraction.

7. My All (Classic Club Remix)

Year: 1998

Have you seen Dreamgirls? In the stage performance, Effie sings “One Night Only” and it shifts immediately into the disco version sung by Deena. I imagine the remix of “My All” draws inspiration from that, especially when they chorus starts chanting, “Just one more night.” In the Classic Club Remix, MC sings on top of a dance beat but it’s a slow burn before it becomes that full on club anthem. The remix isn’t completely re-recorded; it’s her original recording that’s fixed on top of the dance track produced by David Morales, but it’s the last five minutes that she adds on new elements, and finishes out with new vocals, a solo for the latin guitars, and a chorus. Sam Smith might be able to sing any dance song as a ballad, but Mariah is the master of rewriting any torch song into an upbeat track. Try not dancing when Mariah starts going off with the “Feel your body”’s.

6. Through the Rain ft. Kelly Price, Joe

Year: 2002

“Through the Rain” is Mariah’s first comeback single. It hails from Charmbracelet, Mariah’s comeback album after the entire Glitter fiasco. It’s Mariah’s first leading single that failed to crack the Top 5, even “Loverboy” off of Glitter peaked at #2. The inspirational track, which encourages the audience that they will “Make it through the rain”, stalled at #81. The original mix is a slow R&B ballad, one that even I rarely listen to since I almost always opt for the live version she performed at MTV Presents. The remix is more upbeat as a result of changes lyrically and melodically, and by infusing gospel elements, there’s more of a sense of hope than in the original mix. “Through the Rain” didn’t chart well, so why does this remix rank so high among the other remixes? A decade and a half before Kanye decided to bring everyone to church, Mariah brought her listeners to church instead of the club with this remix. For a remix, the sound was new and gutsy, especially for a song that didn’t fair too well, granted she did also release a dance remix. With the remix, MC proved that a song didn’t have to be wildly popular for her to breath new life into it.

5. Unforgettable (Acoustic) ft. Mariah Carey, Swae Lee

Year: 2017

You might be quick to catch that "Unforgettable” is actually a French Montana song, but you might be less familiar with this Mariah Carey remix. The inclusion of MC on this track, and the decision to replace the track with a guitar makes it sound more like a R&B-inspired country song with a rap section than it does dancehall; nonetheless, the remix is incredibly cross-genre. Chances are French Montana didn’t re-record his lines, which is standard, but then some very stylistic choices were made that makes the remix sound like a Mariah duet rather than a MC-guest appearance. These decisions, however, may not exactly be MC-mandated, so let’s talk about two things that were within her control: (1) MC sings throughout the entire track. She doesn’t appear for just one verse then disappears; she injects herself throughout the song by harmonizing with French Montana. (2) MC brings her whistle notes. MC fans stan Mariah’s whistle notes for one very good reason: Mariah uses them with much musicality. It’s less of a garnish where MC goes, “Hey, look, I did that!” because we know she can do those whistle notes. In the “Unforgettable” remix, MC uses her whistles as a base, a broth if you may; in this way, her high notes are instrumental, and she strings them together in a series of legato to create the backing track for which French and her sings on. Mariah’s contribution to this song really makes it ever more unforgettable.

4. We Belong Together ft. Jadakiss, Styles P

Year: 2005

Kelefa Sanneh, a former music music critic for The New York Times, called the “We Belong Together” remix “springier”; I had to quote him because there’s no better way of putting it. The original mix is tear-jerking, but the remix has a bounce to it that captures the hip-hop vibe that MC was looking for. The remix gets pretty close to demonstrating what a perfect balance looks like, and inevitably Mariah sometimes misses the mark — remixes sometimes reduce Mariah to the featured artist, despite it being a Mariah song. She sings along while Jadakiss and Styles P trade lines, emphasizing certain phrases. The remix continues to sample Bobby Womack’s “If You Think You’re Lonely Now”, and uses a longer lyric sample from “Two Occasions” by The Deele. On this list, we’ve seen MC skillfully use instrumental samples, but she is masterful in picking lyrical samples as well. The “Two Occasions" sample, “I only think of you on two occasions/That’s day and night”, contributes to the message of yearning in “We Belong Together”, making it fit perfectly with the mood and the scheme of the song. MC finishes the remix in a way only she could, by showcasing a series of vocal acrobats for the last minute-and-a-half of the song.

3. Always Be My Baby (Mr. Dupri Mix) ft. Da Brat, Xscape

Year: 1996

I know diehard fans prefer Mariah’s Butterfly era, where you had songs like “Honey” and “My All”, but my favourite would still have to be the Daydream era, when MC decided to gift the world with “Fantasy” and “Always Be My Baby”. The Daydream era featured prime Mariah vocals, amazing album cuts, and two of Mariah’s coolest remixes to date. Both the “Fantasy” and “Always Be My Baby” remixes are timeless; the former is so stripped down, but it is the latter that we really need to talk about. It’s timeless in such a sophisticated way that’s so rarely seen in pop music. Don’t agree? But Mariah seems to agree. In the Caution World Tour, Mariah’s most recent tour, she performed this remix instead, when “Always Be My Baby” had almost always been performed unaltered in the original mix. The foundation of the Mr. Dupri Mix samples “Tell Me If You Still Care” by the SOS Band, a slow jam itself which gives the remix its sleek, quiet storm sound that was so popular in the 1980s. MC is an understated music genius: She takes a page from TLC, who had just released their critically-acclaimed hip-hop album CrazySexyCool the year before, by recruiting a female rapper, Da Brat for the remix; this marks the first time MC collaborated with a female rapper. And the rap practically merges with the track; it’s neither out of place nor distracting as Mariah riffs while Da Brat raps. She also melds two supposedly conflicting genres, since younger Black audiences had shifted their attention from quiet storm to hip hop since the beginning of the ‘90s. Whereas the “Fantasy” remix had almost no re-recorded vocals, the “Always Be My Baby” remix received an almost complete makeover, save the melody. Mariah really thins out her voice for the remix and introduces her airy whisper, something she’ll really master in her subsequent albums, which gives a new feeling to the happy-go-lucky vibe on the original mix. The remix is more mature, reflecting Mariah’s real-life desire to bridge pop, R&B and hip-hop.

2. All I Want For Christmas Is You (So So Def Remix)

Year: 2000

As we’ve seen in the Top 10 Most Iconic list, Mariah has released several versions of “All I Want For Christmas Is You”. Certainly, the original mix reigns supreme, but the So So Def Remix comes awfully close, and I will argue that none of MC’s other versions or any other cover of this song, ballad, acoustic or otherwise, comes close to this remix. You might have heard the disconnected intro and skipped the rest of the song, which meant you missed Mariah and producer Jermaine Dupri reworking the song in ways no one else can. The So So Def Remix is an extremely smooth R&B and hip-hop remix, and although this is nothing out of the ordinary for MC, it’s such a smart remix because it’s a Christmas song for anyone who’s tired of listening to Christmas songs; essentially it’s an escape from the original mix. This remix has as much spring as the “We Belong Together” remix, but this bounce is a result of sampling “Planet Rock” by Afrika Bambaataa & the Soulsonic Force. The whistle notes that are seen in the main melody of later versions derives from this remix, and arguably, the whistle notes in the remix’s successors are nowhere as melismatic. You can’t beat a Mariah original, but you also can’t beat a Mariah remix.

1. Anytime You Need A Friend (C&C Club Version)

Year: 1994

“Anytime You Need A Friend” is a deeper cut itself off of Mariah's best selling album Music Box. It’s Mariah’s first US single not to enter the Top 10, peaking at #12. It’s equal parts a love song and a song of encouragement, especially the remix. The original mix of “Anytime You Need A Friend” is a slow ballad, at least “My All” had something sexy about it, so you wouldn’t except Mariah, and producers David Cole and Robert Clivillés to be able to work it into a dance track so well. But without a doubt, it is definitively Mariah’s best remix. The 10 minute song is essentially an abridged version of Mariah’s résumé; you get a glimpse at everything from Mariah’s vocal talents to her songwriting abilities to her musicality. “Anytime You Need A Friend” is a torch song that’s been repackaged with a pounding dance beat. Even if it's from 1994, there’s a certain timelessness to it. Another great thing about most of MC’s remixes is that it doesn’t cut the song short; in the C&C Club Version, the entire song is there. Mariah reworks the part of the original melody, but it’s the last six minutes of the remix, when Mariah goes off, where you can really observe how well she knows music. Can you write this down on sheet music? Or was it improv? To me, the last six minutes was literally a playground for MC to do her thing, whatever she wants. There’s no guest singer or featured rapper, just Mariah. But then this allows her to do something she’s almost never done before or since. At the eight minute mark, the remix enters a jazz breakdown, and Mariah scats, dipping into her lows, belting, and hitting those whistle notes. Simply, this remix is remarkable and breathtaking.

Timelessness is the key word here with MC’s remixes. You may think that the incorporation of samples would date these remixes significantly, but personally it does it complete opposite. Mariah’s remixes transcends eras because of the use of samples. Not only are her remixes cross-genre, they’re also cross-generational. Mariah doesn’t just push out remixes and waits to capitalize on them. If you’re looking for a place to find Mariah’s artistry, look no further than her remixes. She adds new elements and new life to the songs, rewrites them, reworks them, re-records them. Who’s done this recently? In the last twenty years, which artist has consistently given their remixes this kind of treatment?

#mariah carey #all i want for christmas is you #merry christmas #spotify #song list #playlist #remixes

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heycolorwind · 4 years

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The Beatles’ Abbey Road Super Deluxe 50th Anniversary Mini-Review

Format: Reissue, Studio Album, Long Play (LP)

Genre: Rock, Psychedelic Rock, Art Rock

Length: 2:12:25

Label: Apple Records, Capitol Records

Media Type: CD

Released Date: September 27, 2019

The final album from the legendary band The Beatles, Abbey Road needs no introduction. It’s a fantastic album, a classic, and some would argue the Beatles’ best. For the 50th anniversary of the album, Abbey Road got a new release with a new Stereo mix and up to two discs of outtakes, demos, and alternative takes. A couple of The Beatles’ previous albums (Sgt. Pepper, White Album) have got a similar treatment, and Abbey Road is the latest and probably the last. But with it having the least of the three re-releases, does the Super Deluxe edition of Abbey Road fall short or is it a concise and tight package of one of the most diverse and polished albums in the Beatles’ catalog?

Let’s begin with the original album itself. I will not review the actual album as it’s a classic that needs more than just a few paragraphs to critique. This review will focus solely on what’s new here, specifically the new mix done by Giles Martin, the long time Beatles producer George Martin’s son. He was also behind the new stereo mixes for Sgt. Pepper and the White Album, and just like those re-releases, the new stereo mix sounds great. However, some of the remixes I believe are from the previous new remix used on the compilation Beatles 1’s remaster. Regardless, it sounds fantastic and it’s the definitive way of hearing this album now. If you like this album, this mix alone makes it worth picking up at least the single disc version.

As for the Super Deluxe content, it’s fine. Nothing here is extremely different from the finished songs but it has some studio chatter and some interesting alternative tempos for some tracks. An alternative recording of the Abbey Road medley is probably the coolest thing here, as it also has “Her Majesty” placed back in its original place after “Mean Mr. Mustard.” Demos of “The Ballad of John and Yoko” and “Old Brown Shoe” are also here, despite not being during the Abbey Road sessions. A home demo of a McCartney song called “Goodbye” is also here, as well as a demo of “Come and Get It”, which was intended for Abbey Road but ended up being given to Badfinger.

What’s here is fine and hardcore fans of the Beatles will be happy with what’s here. Hardcore fans of the Beatles will also know, however, that this collection isn’t comprehensive. In fact, there’s other takes and demos that were previously released on the Anthology Vol.3 release that are NOT included here. Considering that all the bonus content and the original album could’ve fit on two discs instead of the three that it’s on, that’s kind of a dick move packaging wise. Either cut some stuff and make it a two disc set, or including more stuff and earn those three discs.

With that said, although it’s not a perfect collection, it is compelling enough to warrant a purchase from casual and hardcore listeners alike. The remaster justifies picking up the album itself, even if you already own it, and the super deluxe version still has enough interesting content to intrigue the hardcore. The two disc normal deluxe version is sort of an awkward edition but I suppose it does have enough of the interesting outtakes to be a valid option. It is missing the alternate Abbey Road medley though.

Final Rating 7/10 Good

#The Beatles #Abbey Road #Super Deluxe #Super Deluxe Edition #50th Anniversary #mini-review #review

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amazing---shades · 5 years

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Song Tag

Rules: List 10 songs you’ve been listening to recently. Then tag 10 mutuals.

(Tagged by the lovely @x-i-l-verify. I really do love doing these! I just need to stop taking forever to do them. Thank you so much for the tag!)

1. I Want to be The One (To Watch You Die) (The Megas are a Mega Man themed band. Like The Protomen!) This song involves a very fed up Dr. Light basically at the end of his rope, wishing for the death of Dr. Wily. I love the lyrics, which show Light is not without his own flaws.

2. Galaga Medley [New Remix] (Smash Bros Ultimate OST) This excellent remix perfectly represents Namco and Pac Man's cheery energy in Smash Ultimate. I listen to it while driving.

3. E-101 Beta's Theme (Sonic Adventure) I just love how...jazzy? Funky? This sounds. It makes me want to dance.

4. In a Big Country (Big Country) I randomly stumbled across this song on YouTube and have loved it ever since. It gives me such good vibes. I especially love the line, “I'm not expecting to grow flowers in a desert, but I can live and breathe and see the sun in wintertime.” Inspirational.

5. The Stand (Man or Machine) ((The Protomen)) Intense confrontation between Proto Man, Mega Man and Dr. Light. I'm not good at explaining it, but I love the premise behind this song so much as a big Mega Man fan. I also love how Proto Man's voice seems to grow more and more robotic as the song progresses.

6. Feelings Toward Darkrai (The Rise of Darkrai OST) This theme always gave me really strong feelings. Darkrai is probably my favorite Pokemon too, so bonus points there. I recently rediscovered it on YouTube, which made me very happy.

7. Dancing Queen (ABBA) This song has been a favorite of mine since I was a child listening to it in the car with my family. It's very nostalgic for me, and it reminds me of a very innocent time in my life.

8. The Annihilation of Monsteropolis (The Megas) In which Air Man from Mega Man 2 has the most insane of meltdowns brought on by bitterness and loneliness and wants nothing less than the death of all those on Earth. Lyrics are filled with total robotic rage.

9. Maternal Heart (Silent Hill 3 OST) Beautifully haunting is the best way to describe this. It sends chills down my spine. It fits so well with Silent Hill 3's overall feel.

10. Phantom Racer (TWRP and The Protomen) So badass. It involves the fun premise of a mysterious racer who enjoys racing to the literal death for the heck of it. I've listened to this countless times.

Anyone else can consider themselves tagged in this post lol.

#about me #music tag #tag meme #music

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snupersstar · 6 years

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KPOP BIGGER TAG!

I was tagged by the wonderful moosefan777, thanks boo!

This is really long, so if you’re gonna read it, fasten your seat belts, you’re in for a ride

1.) 5 favorite groups?

SNUPER, B1A4, B.A.P, NU’EST, VIXX, and KNK (I couldn’t pick just five!!!! 😱)

2.) Top 5 on your bias list?

Well if you can’t tell by following my blog, I bias Taewoong!!! And B.A.P’s Youngjae, B1A4’s Jinyoung, NU’EST’s Minhyun, and VIXX’s N (and from KNK it’s Seungjun)

3.) Ult Bias group and why you love them?

Uggghh! This is so hard! What’s there not to love about SNUPER? What don’t they have? You want amazing songs that never disappoint? They’ve got you covered. You’re more into stunning choreography? Don’t worry, their dancing is next level. You want members who are super sweet, but also so unbelievably cheesy, greasy, and are just plain dorks? SNUPER is just the group for you.

4.) Ult Bias and why you love them?

Well, if you saw the video post I made for Taewoong’s birthday, you probably already know one of the main things I love about Taewoong is his smile. I also just love his dorky personality. He is always just so fun to watch. He always seems to be having a blast with his life and that in turn just brings so much happiness to mine!

5.) Favorite Kpop Meme

Just a few of my faves

6.) Favorite pic of your ult? (I dare you to only pick one)

But, no, I really like this one:

7.) 5 Favorite Kpop MVs

KNK’s “Rain”, CNBLUE’s “You’re So Fine”, Seventeen (Performance Unit) “Lilili Yabbay”, SNUPER “It’s Raining”, and INFINITE “The Chaser”

8.) 10 Favorite Kpop songs?

KNK’s “Rain” (I literally listened to this song 20x in one day), SNUPER’s “내 여자의 여우짓”, NU’EST’s “여보세요”, B1A4’s “Lonely”, VIXX’s “Desperate”, DAY6’s “I Smile”, B.A.P’s “Coffee Shop”, CNBLUE Minhyuk’s “Star”, Super Junior Ryeowook’s “The Little Prince”, and BOYFRIEND’s “Janus”

9.) Favorite Kpop crack video?

Honestly, I don’t really have a favourite KPop crack video... I just search whatever variety of crack I’m in the mood for, and then just watch the first results

10.) Favorite content creator within the fandom?

suhyunggeun - I’ve always really enjoyed your stuff. And more recently sufferhyuns. Thank you both for blessing my dash (and here I am picking two Suhyun stans while insisting that I’m not one... I swear, Taewoong owns my life)

(And for groups other than SNUPER, I really like gomnu’s suff!)

11.) What fandoms would you say you’re an active member of?

An active member… Probably only SWING, thought I’d like to be a better TINKERBELL (KNK) too. I’m really mostly a casual fan of all groups I stan besides SNUPER

On my multifandom blog, on top of SWING, I really only interact with B.A.B.Y (B.A.P), Starlight (VIXX), Bana (B1A4), Carat (Seventeen), and Universe (Pentagon), though I wouldn’t really say I’m an “active” member

12.) Take your top 3 biases- fmk

Honestly, this question makes me uncomfortable because I respect my biases as people…

13.) If you could be best friends with any idol, who would you choose?

Well as I said, I would love to be friends with Sangho. But I’d love to take a road trip with some of the members of Seventeen (Seungkwan, D.K, and Vernon). Also Heejun from KNK - I want to validate the hell out him!

14.) If you could date any idol, who?

This was so hard to answer because I just never really look at idols like that, but I think I would have to say Seventeen’s S.Coups, I think he would treat me right

15.) What’s one Kpop album you think everyone should have listened to?

I can’t pick just one, so here’s five: I love, love, LOVE B1A4’s “Good Timing” album. B.A.P’s “Noir” is also super quality. As well as 15&’s “Sugar” and SNUPER’s “유성” album (that 80’s remix of “Platonic Love”…) - I was gonna put “I Wanna?” but “유성” has all the same songs, plus more!!!

16.) Are you a soft or a hard stan?

Soft all the way! I literally don’t know what to do with myself if my bias is anything other than soft

17.) An idol that makes you go into soft mode?

Basically all of SNUPER (Taewoong, Sebin, Sangho, Sangil), KNK’s Seungjun when he’s being his dorky self, Seventeen’s S.Coups, and NU’EST, just all of NU’EST

18.) An idol that makes you want to smash the empire state building with one single punch?

Seventeen JOSHUA!!!

Don’t get me wrong, I love him, but this is actually me:

(GIF credit to cheolshu, I just couldn’t find these GIF in tumblr’s built in GIF search that automatically links it to the post... But that last thing I want to do is steal someone else’s creation)

19.) Favorite vocalist?

Kihyun (Monsta X), Sandeul (B1A4), Sangil (SNUPER), Taeil (Block B), Minhyun (NU’EST), Sunmi, Ryeowook (Super Junior), Max (TVXQ), Raina (After School/Orange Caramel). Is that too many...?

20.) Favorite Rapper?

Taewoong, Jooheon (Monsta X), Zelo (B.A.P), Junhyung (HIGHLIGHT), Minwoo (BOYFRIEND) - even though Kwangmin is my BOYFRIEND bias..., Amber (f(x)) -Amber’s vocals are also amazing!

21.) Favorite dancer?

Jun (Seventeen), Lay (EXO), N (VIXX), Hansol (TOPPDOGG)

22.) Things you have in common with your ult?

Oh my goodness, Taewoong is like the ideal human being, what could I possibly have in common with him?!?! I can think of a lot of things that I admire about Taewoong and wish we had in common, but not many traits that we actually share...

23.) The most beautiful trait any idol can have?

As cliche as it sounds, I’m a sucker for a beautiful smile (the dorkier the better). I also fall for idols based on their personalities (again, the dorkier the better)

24.) Songs that will always make you jam along?

KNK’s “U”, Pentagon’s “Can You Feel It”, SNUPER’s “It’s Raining”, Seventeen “Clap”, and many, many more (basically all of B.A.P’s discography, but I decided to only put one per group in all my answers, and they were just too hard to narrow down…)

25.) Your worst wrecker?

I wish Pentagon’s Kino knew how to stay in his own lane… And I just adore KNK’s Inseong, even if he insist on bias wrecking me at every turn

26.) Any kpop concerts you’ve been to?

I’ve been to a B1A4 concert, I’ve seen B.A.P twice, and my friend and I went to KCON last year (if that counts… KNK was there!!!)

[Bonus: I have tickets for KCON again this year, as well as tickets for a Monsta X concert]

27.) Favorite choreo?

Well SNUPER’s “It’s Raining” choreography owns my soul. But I also love KNK’s “Knock” dance, Seventeen’s (Performance Unit) “Lilili Yabbay” choreography, and both VIXX’s “Shangri-La” and TOPPDOGG’s “Arario” (fuck me up with the fan dances)

28.) Favorite live performance?

I really love any special stages: Seventeen & NU’EST W’s “Heaven”, this beautiful stage (in which Eunwoo looks entirely too soft), this rude stage (this is one of the reasons I really wanted to learn more about Halo), Seventeen’s girl group medley

29.) Favorite debut mv?

NU’EST’s “Face”, KNK’s “Knock” and DAY6 “Congratulations”

30.) Recommend a rookie group!

Can I recommend SNUPER on a SNUPER blog? If not, then def KNK (I’ve answered then for like 90% of the answers, hahahaha)

31.) A kpop song you could listen to every day for the rest of your life?

Well, if you couldn’t tell by this point, KNK’s “Rain” and SNUPER’s “It’s Raining”. But also, CNBLUE Minhyuk’s “Star”

32.) Tag some cute mutuals you’d like to get to know better (and to do this challenge)!

I’ll tag sufferhyuns, though you don’t have to do it if you don’t want to (it took a really long time...)

#I was tagged #This is super long #But it was fun to answer

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sylviaaliceblogs · 4 years

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MY TOP ALBUMS 2019

Below are my top albums of 2019. Each album was a project that came out during the year and are ranked in no particular order. I have described them and added the general feeling(s) I associate with each and a stand out track from each album. I hope you all enjoy xx

Euphoria (Original Score) -Labrinth

Labrinth has outdone himself and gave me one of my favorite scores of not only this is year but also of the decade. I can’t sing high enough praises. Plus the show its self is at the pinnacle of good television and truly a must watch.

Feeling: How you feel right before you wake up from a really good dream.

Stand Out Track: Forever -- “Ooo, ooo, ooooo, woooooooooo”

The Big Day -Chance the Rapper

I’ve said it before and I will say it again if you like hip hop but don’t like Chance you just don’t like being happy. For his first official “album” in the traditional sense he confess both his shortcomings and achievements as a lifepartner in a way that could make any noncommittal Millennial want to try the whole boo’ed up thing. Also big up to Chance for bring the skit back to hip hop in 2k19.

Feeling: The summer you first fell in love in high school with that kid from the opposite side of town.

Stand Out Track: Eternal -- “Side chicks make their Kool-Aid with Splenda”

HOMECOMING: THE LIVE ALBUM -Beyonce

I was split 50/50 with the Lion King soundtrack but what edged this Beyonce project to top for me this year was just how much work went into the entire performance. If you love a good horn section this album is for you. If you are looking for an incredible live album this album is for you. If you love to hear a nearly 2 hour reimagined in a HBCU band style medley of some of her best songs from the past 10 years this album is for you. If you don’t get already, no matter how you may feel about Beyonce this album is for YOU and anyone else you who loves just real good musicality.

Feeling: Like you just saw your musical hero front row at one of the biggest music festivals.

Stand Out Track: Drunk in Love -- “Ride it with my surfboard (Man, I got that swag)”

IGOR -Tyler, The Creator

I have to admit I never was a huge Tyler fan. On the other hand my brother is unquestionability the BIGGEST Tyler fan of all time. I listened to an occasional Yonkers here or Deathacmp here, but IGOR was one of those albums that changed how I think about an artist. After some pushing from my brother and a little resistance I listen to IGOR and was pleasantly surprised with a raw and emotional album about loving someone that can only hurt you. I also really liked the number of super talented people with “uncredited” vocals on the album (i.e. Solange, Santigold, Lil Uzi, Charlie Wilson). Lastly I had the pleasure of seeing him perform like 95% of the album in concert 10/10 would recommend.

Feeling: Kinda like your loosing your innocence about youth, the type of album you listen to in your mom’s car on the drive to tennis practice at a rich country club that your family doesn’t belong to.

Stand Out Track: A BOY IS A GUN* -- “No, don't shoot me down (Okay)”

Cuz I Love You -Lizzo

Lizzo said something along the line of “a decade can change a lot” in a recent tweet regrading how 10 years ago her dad had died and she was living in her car trying to pursue music. It was nice seeing how far she has come in the last couple years as a fan who had been listening to her since 2016 and knowing how much her music had developed in the last couple years. A pop star in 2k19 if we ever saw one. Added bonus Lizzo has the stage presence a lot of acts have lacked in the last couple years.

Feeling: Loosing a person that you really loved in a platonic way but then coming to a really good resolution and understanding (but you’re also still not friends anymore).

Stand Out Track: Heaven Help Me -- “If love ain't dead, I'ma kill it 'cause it's killin' me”

Anger Management - Rico Nasty

The angsty edgy punk 15 year old me would have loved this album and let me tell you this still angsty not really edgy wannabe e-girl at 22 loves this album. Rico Nasty is under-appreciated and underrated. Also shout out to Kenny Beats on the production of the album.

Feeling: You know what today we ARE going to punch racist annoying Karen at Walmart in the chest and pop her low-grade silicon boob implant.

Stand Out Track: Hatin -- “Kennnnnnnnnnyyyyyy!”

WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? -Billie Eilish

Who knew a 17 year old girl “who dresses like a quarterback" would turn the music world upside down with an album written by her and her brother mostly about her nightmares, not I for one. But nevertheless she did. People have said they don’t like her whisper signing but I think that is the quality that gives the whole album the eerie and spooky vibe and makes it an instant yet unusual classic.

Feeling: Beat drop --> head bang, but make it vsco girl, make it e-girl, make it fashion.

Stand Out Track: all the good girls go to hell -- “She will want the Devil on her team”

Horary Mentions:

7 - Lil Nas X

-- Lil Nas X doesn’t care about what you think of him and “7″ tells us he also doesn’t care to define his music in just one way. Nirvana samples to horses in the back to Chowder references there’s something for everyone.

Jesus is King/Born - Kanye

-- I said what I said. If you a Kanye fan and gospel music fan then you’ll like it. Production per usual if fyre and if nothing else we got a Clipse reunion with a saxophone solo from Kenny G which no one saw coming.

thank u, next - Ariana Grade

-- had to do it on them, jk I was a little shook that she was one on my top Spotify artist from this year but also I texted a guy “breakup with your girlfriend i’m bored” so it must have resonated

Chixtape 5 - Tory Lanez

-- I was so glad I waited to post this list because if I had done it when I wanted I would I have missed the brilliance of this album. It defines my whole childhood with a lite trap remix feel. I was transported to ridding the bus in middle school. I appreciate you Tory. Plus you guys already know I love me a great skit.

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227snewfacebookfries · 6 years

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Production "Finesse" was co-written by Bruno Mars, Philip Lawrence, Christopher Brody Brown, James Fauntleroy, Johnathan Yip, Ray Romulus, Jeremy Reeves and Ray McCullough II. Its production was handled by the former three under their alias Shampoo Press & Curl, along with the latter four as The Stereotypes. Mars, Lawrence, Brown and Fauntleroy served as the song's background vocalists. The recording was done and engineered by Charles Moniz with additional engineering assistance by Jacob Dennis at Glenwood Place Studios in Burbank, California. It was mixed at MixStar Studios in Virginia Beach by Serban Ghenea, with John Hanes serving as mixing engineer. Tom Coyne mastered the song at Sterling Sound in New York City.[6] Composition The album version borrows its style from R&B and new jack swing.[7][8] It was described by The New York Times as "taking the leap from 1984 to ’88, with crackling drum machine production."[9] In its turn, the remix is dubbed as a funk and new jack swing song. Critics have it compared to Michael Jackson's "Remember The Time".[10] The song is written in the key of F minor Chart performance Following the release of the remix which features Cardi B and its official music video on January 4, 2018 at midnight, "Finesse" launched at number 35 on the US Billboard Hot 100 for the issue dated January 13, 2018. "Finesse" entered the Billboard Hot Digital Songs chart at number 13 with just one day sales of 30,000 according to Nielsen Music, drew in 8.7 million streams from the time of its release, and also received early radio support allowing it to enter Billboard's Radio Songs chart at number 49 with 26 million audience impressions. After its first complete tracking week, "Finesse" soared to number three on the Hot 100 marking Bruno Mars' fifteenth and Cardi B's fourth top 10 single on the Hot 100. The song climbed 13-2 on the Digital Songs chart selling 87,000 copies in its second week. The song also debuted at number one on the Streaming Songs chart with 38.3 million US streams, a 342% incline from the previous week, and climbed 49-12 on Radio Songs with an overall 52 million audience impressions. Mars also made history as becoming the second male artist in Hot 100 history, the first being Lionel Richie, and sixth overall, to achieve three top-10s from each of his first three studio albums.[11] In the same week, Cardi B also made history as becoming the first female artist to simultaneously hold three positions in the top ten for 3 consecutive weeks. "Finesse" has so far peaked at number three for seven non-consecutive weeks on the Hot 100. Finesse allowed Mars to pass The Weeknd, becoming the act with the third-most number one song on the Rhythmic Songs chart this decade.[12] On the Radio Songs chart, "Finesse" peaked at number one, becoming Mars' eight number one on the Radio Songs. Among men, Mars passed Usher for the most leaders among male acts, since the chart's 1990 start. At that time, Rihanna led the list with 13 songs peaking at number one on the chart.[13] Worldwide, it reached the top of the charts in Croatia and Israel, and the Top 10 in Australia, Belgium, Bolivia, Canada, El Salvador, Ireland, Latvia, the Netherlands, New Zealand, Portugal, Spain and the United Kingdom. Music video The music video for the remix of "Finesse" premiered on January 4, 2018 and was directed by Mars and Florent Dechard and produced by Media Magik Entertainment.[14] The video pays homage to the opening theme of the popular FOX sketch comedy television series In Living Color, which ran from 1990 to 1994.[15] The video received 13 million views within the first two days of release.[16] It features Phil Tayag, Danielle Polanco, Bianca Brewton, TJ Lewis and Ysabelle Capitulé as dancers.[17] Live performances "Finesse" was performed live by Mars in the Apollo Theater alongside the rest of 24K Magic for his CBS prime time special titled "Bruno Mars: 24K Magic Live at the Apollo", which aired on November 29, 2017.[18][19] The remixed version of the song was performed live by Mars and B at the 60th Annual Grammy Awards.[20] At the 2018 iHeart Music Awards, Cardi B sang a medley of her singles, including "Finesse".[21] "Finesse" is the opening song on the 24K Magic World Tour. Usage in media The song is featured in the fourth episode of the television series 9-1-1.[22] Track listing Digital download[23] No. Title Length 1. "Finesse" (Remix) (featuring Cardi B) 3:37 Credits and personnel Original version Recording Recorded at: Glenwood Place Studios in Burbank, California; mixed at MixStar Studios, Virginia Beach, Virginia. Personnel Bruno Mars – lead vocals, songwriting, background vocals Phillip Lawrence – songwriting, background vocals Christopher Brody Brown – songwriting, background vocals James Fauntleroy – songwriting, background vocals Johnathan Yip – songwriting Ray Romulus – songwriting Jeremy Reeves – songwriting Ray McCullough II – songwriting Shampoo Press & Curl – production The Stereotypes – production Charles Moniz – recording, engineering Jacob Dennis – recording assistantance Serban Ghenea – mixing John Hanes – mix engineering Tom Coyne – mastering Credits adapted from the liner notes of 24K Magic, Atlantic Records.[6] Cardi B remix Personnel from the original version remains the same. Cardi B – guest vocals Charts Chart (2018) Peak position Argentina (Monitor Latino)[24] 17 Australia (ARIA)[25] 6 Austria (Ö3 Austria Top 40)[26] 30 Belgium (Ultratop 50 Flanders)[27] 8 Belgium (Ultratop 50 Wallonia)[28] 8 Bolivia (Monitor Latino)[29] 10 Brazil (Hot 100 Airplay)[30] 3 Canada (Canadian Hot 100)[31] 3 Canada CHR/Top 40 (Billboard)[32] 1 Colombia (National Report)[33] 20 Croatia (HRT)[34] 1 Czech Republic (Singles Digitál Top 100)[35] 47 Denmark (Tracklisten)[36] 14 Ecuador (National Report)[37] 81 El Salvador (Monitor Latino)[38] 7 Finland (Suomen virallinen lista)[39] 18 France (SNEP)[40] Solo version 13 Germany (Official German Charts)[41] Solo version 31 Honduras (Monitor Latino)[42] 13 Hungary (Rádiós Top 40)[43] 16 Hungary (Single Top 40)[44] 18 Hungary (Stream Top 40)[45] 11 Ireland (IRMA)[46] 5 Israel (Media Forest)[47] 1 Italy (FIMI)[48] 62 Japan (Japan Hot 100)[49] 17 Latvia (Latvijas Top 40)[50] 2 Malaysia (RIM)[51] 12 Mexico (Billboard)[52] 20 Netherlands (Dutch Top 40)[53] 9 Netherlands (Single Top 100)[54] 9 New Zealand (Recorded Music NZ)[55] 2 Norway (VG-lista)[56] 24 Paraguay (Monitor Latino)[57] 14 Portugal (AFP)[58] 8 Scotland (Official Charts Company)[59] 16 Slovakia (Singles Digitál Top 100)[60] 41 Spain (PROMUSICAE)[61] Solo version 6 Sweden (Sverigetopplistan)[62] 14 Switzerland (Schweizer Hitparade)[63] 29 UK Singles (Official Charts Company)[64] 5 US Billboard Hot 100[65] 3 US Adult Contemporary (Billboard)[66] 19 US Adult Top 40 (Billboard)[67] 9 US Dance Club Songs (Billboard)[68] 1 US Latin Pop Songs (Billboard)[69] 39 US Hot R&B/Hip-Hop Songs (Billboard)[70] 1 US Mainstream Top 40 (Billboard)[71] 1 US Rhythmic (Billboard)[72] 1 Venezuela (National Report)[73] 25 Certifications Region Certification Certified units/Sales Australia (ARIA)[74] Platinum 70,000^ Belgium (BEA)[75] Gold 15,000* France (SNEP)[76] Gold 75,000* New Zealand (RMNZ)[77] Platinum 30,000* United Kingdom (BPI)[78] Silver 200,000double-dagger *sales figures based on certification alone ^shipments figures based on certification alone double-daggersales+streaming figures based on certification alone Release history Region Date Format Version Label(s) Ref. Worldwide January 4, 2018 Digital download streaming Remix (with Cardi B) Atlantic [79] Italy January 8, 2018 Contemporary hit radio Warner [80] United States January 9, 2018 Atlantic [81] United Kingdom January 12, 2018 [82] United States January 16, 2018 Urban contemporary [83] References "Bruno Mars and Cardi B Collaborate on "Finesse" Remix". eonline.com. Retrieved January 5, 2018. "Bruno Mars & Cardi B's 'Finesse' Remix Takes Memes Back to the '90s". billboard.com. Retrieved January 5, 2018. "Bruno Mars - Finesse (Chanson)". lescharts.com (in French). Retrieved January 3, 2018. "Bruno Mars Teases New Cardi B Team-Up 'Finesse'". Billboard. January 3, 2018. Retrieved January 3, 2018. "Bruno Mars & Cardi B Brought a Funk Party to the 2018 Grammys With 'Finesse' Performance". Billboard. January 31, 2018. Retrieved February 4, 2018. 24K Magic (CD booklet). Bruno Mars. United States: Atlantic Records. 2016. 558305-2. "Cardi B To Join Bruno Mars For "Finesse" Remix". xxlmag.com. Retrieved January 3, 2018. "See Bruno Mars, Cardi B's 'In Living Color'-Dedicated 'Finesse' Video". rollingstone.com. Retrieved January 5, 2018. "Review: Bruno Mars Delivers Decades of Funk in '24K Magic'". nytimes.com. Retrieved January 6, 2018. http://www.xxlmag.com/video/2018/01/cardi-b-bruno-mars-finesse-remix-video-in-living-color/ "Ed Sheeran's 'Perfect' Rules Hot 100, Bruno Mars & Cardi B's 'Finesse' Flies to No. 3 & Justin Timberlake's 'Filthy' Debuts at No. 9". Billboard. January 16, 2018. Retrieved January 16, 2018. "Bruno Mars & Cardi B's 'Finesse' Flies to No. 1 on Rhythmic Songs Chart". "Drake's 'God's Plan' Rules Billboard Hot 100 for Seventh Week; Zedd, Maren Morris & Grey's 'The Middle' Hits Top 10". "Bruno Mars Recruits Cardi B for "Finesse (Remix)" Video". Complex Networks. Retrieved January 4, 2018 – via Complex. Kim, Michelle. "Watch Cardi B and Bruno Mars Go Full "In Living Color" in New "Finesse" Video". Pitchfork. Retrieved January 4, 2018. "How Bruno Mars' new music video is a tribute to 90s style". bbc.co.uk. Retrieved January 6, 2018. "Phil Tayag of the Jabbawockeez Talks Working on the 'Finesse' Remix Video and Calls Cardi B a 'Good-Ass Person'". Billboard. January 10, 2018. Archived from the original on January 10, 2018. Retrieved January 16, 2018. "Watch Bruno Mars' '24K Magic Live at the Apollo' Special". rap-up.com. Retrieved January 4, 2018. "Bruno Mars 24k Magic - Live at the Apollo". dailymotion.com. Retrieved January 24, 2018. "Grammys 2018: Watch Bruno Mars, Cardi B's Colorful 'Finesse' Performance". rollingstone.com. Retrieved January 28, 2018. "Watch Cardi B Deliver Fierce Hit Song Medley at iHeartRadio Awards". "Music from 9-1-1 S1E04". Tunefind. Retrieved 2018-01-25. "Finesse (Remix) [feat. Cardi B] - Single". iTunes. Retrieved January 4, 2018. "Top 20 Argentina – Del 19 al 26 de Febrero, 2018" (in Spanish). Monitor Latino. Retrieved February 26, 2018. "Australian-charts.com – Bruno Mars feat. Cardi B – Finesse (Remix)". ARIA Top 50 Singles. Retrieved February 3, 2018. "Austriancharts.at – Bruno Mars feat. Cardi B – Finesse (Remix)" (in German). Ö3 Austria Top 40. Retrieved January 17, 2018. "Ultratop.be – Bruno Mars feat. Cardi B – Finesse (Remix)" (in Dutch). Ultratop 50. Retrieved January 27, 2018. "Ultratop.be – Bruno Mars feat. Cardi B – Finesse (Remix)" (in French). Ultratop 50. Retrieved March 23, 2018. "Top 20 Bolivia – Del 29 de Enero al 4 de Febrero, 2018" (in Spanish). Monitor Latino. January 29, 2018. Retrieved January 17, 2018. "Rankings". Billboard Brasil (in Portuguese). Archived from the original on March 5, 2018. Retrieved March 5, 2018. "Bruno Mars Chart History (Canadian Hot 100)". Billboard. Retrieved January 16, 2018. "Bruno Mars Chart History (Canada CHR/Top 40)". Billboard. Retrieved March 8, 2018. "Top 100 Colombia – Del 26/01/2018 al 01/02/2018". National Report. Retrieved February 8, 2018. "Croatia ARC TOP 100". HRT. Retrieved February 17, 2018. "ČNS IFPI" (in Czech). Hitparáda – Digital Top 100 Oficiální. IFPI Czech Republic. Note: insert 201802 into search. Retrieved January 16, 2018. "Track Top-40 Uge 3, 2018". Hitlisten. Retrieved January 24, 2018. "Top 100 Ecuador – Del 16/02/2018 al 22/02/2018". National Report. Retrieved February 23, 2018. "Top 20 El Salvador – Del 12 al 18 de Febrero, 2018" (in Spanish). Monitor Latino. February 12, 2018. Retrieved February 23, 2018. "Bruno Mars,Cardi B: Finesse (Remix) [Feat. Cardi B"] (in Finnish). Musiikkituottajat – IFPI Finland. Retrieved January 22, 2017. "Lescharts.com – Bruno Mars – Finesse" (in French). Les classement single. Retrieved January 13, 2017. "Offiziellecharts.de – Bruno Mars – Finesse". GfK Entertainment Charts. Retrieved January 12, 2018. "Top 20 Honduras – Del 19 al 26 de Febrero, 2018" (in Spanish). Monitor Latino. Retrieved February 26, 2018. "Archívum – Slágerlisták – MAHASZ" (in Hungarian). Rádiós Top 40 játszási lista. Magyar Hanglemezkiadók Szövetsége. Retrieved March 8, 2018. "Archívum – Slágerlisták – MAHASZ" (in Hungarian). Single (track) Top 40 lista. Magyar Hanglemezkiadók Szövetsége. Retrieved March 15, 2018. "Archívum – Slágerlisták – MAHASZ" (in Hungarian). Stream Top 40 slágerlista. Magyar Hanglemezkiadók Szövetsége. Retrieved January 25, 2018. "IRMA – Irish Charts". Irish Recorded Music Association. Retrieved February 17, 2018. "Bruno Mars – Finesse Media Forest". Israeli Airplay Chart. Media Forest. Retrieved January 21, 2018. "Top Singoli – Classifica settimanale WK 2" (in Italian). Federazione Industria Musicale Italiana. Retrieved January 13, 2018. "Bruno Mars Chart History (Japan Hot 100)". Billboard. Retrieved January 20, 2018. "Latvijas Top 40". Latvijas Radio. 20 February 2018. Retrieved 20 February 2018. "Top 20 Most Streamed International & Domestic Singles in Malaysia : Week 5 (26/1/2018 – 1/2/2018)" (PDF). Recording Industry Association of Malaysia. Retrieved February 15, 2018. "Mexico Airplay". Billboard. February 10, 2018. Retrieved February 9, 2018. (Subscription required (help)). "Nederlandse Top 40 – week 6, 2018" (in Dutch). Dutch Top 40 Retrieved February 10, 2018. "Dutchcharts.nl – Bruno Mars feat. Cardi B – Finesse (Remix)" (in Dutch). Single Top 100. Retrieved January 20, 2018. "Charts.org.nz – Bruno Mars feat. Cardi B – Finesse (Remix)". Top 40 Singles. Retrieved February 9, 2018. "Norwegiancharts.com – Bruno Mars feat. Cardi B – Finesse (Remix)". VG-lista. Retrieved February 10, 2018. "Top 20 Paraguay – Del 12 de Enero al 18 de Febrero, 2018" (in Spanish). Monitor Latino. January 29, 2018. Retrieved February 19, 2018. "Portuguesecharts.com – Bruno Mars feat. Cardi B – Finesse (Remix)". AFP Top 100 Singles. Retrieved January 28, 2018. "Official Scottish Singles Sales Chart Top 100". Official Charts Company. Retrieved February 10, 2018. "SNS IFPI" (in Slovak). Hitparáda – Singles Digital Top 100 Oficiálna. IFPI Czech Republic. Note: insert 201802 into search. Retrieved January 16, 2018. "Spanishcharts.com – Bruno Mars – Finesse" Canciones Top 50. Retrieved January 21, 2018. "Swedishcharts.com – Bruno Mars feat. Cardi B – Finesse (Remix)". Singles Top 100. Retrieved January 20, 2018. "Swisscharts.com – Bruno Mars feat. Cardi B – Finesse (Remix)". Swiss Singles Chart. Retrieved January 29, 2018. "Official Singles Chart Top 100". Official Charts Company. Retrieved January 20, 2018. "Bruno Mars Chart History (Hot 100)". Billboard. Retrieved January 17, 2018. "Bruno Mars Chart History (Adult Contemporary)". Billboard. Retrieved March 13, 2018. "Bruno Mars Chart History (Adult Pop Songs)". Billboard. Retrieved March 20, 2018. "Bruno Mars Chart History (Dance Club Songs)". Billboard. Retrieved March 2, 2018. "Bruno Mars Chart History (Latin Pop Songs)". Billboard. Retrieved March 20, 2018. "Bruno Mars Chart History (Hot R&B/Hip-Hop Songs)". Billboard. Retrieved January 17, 2018. "Bruno Mars Chart History (Pop Songs)". Billboard. Retrieved March 27, 2018. "Bruno Mars Chart History (Rhythmic)". Billboard. Retrieved February 13, 2018. "Top 100 Venezuela – Del 23/02/2018 al 01/03/2018". National Report. Retrieved March 2, 2018. "ARIA Australian Top 50 Singles". Australian Recording Industry Association. March 12, 2018. Retrieved March 10, 2018. "Ultratop − Goud en Platina – 2018". Ultratop. Hung Medien. Retrieved March 16, 2018. "French single certifications – Bruno Mars feat. Cardi B – Finesse" (in French). Syndicat National de l'Édition Phonographique. Retrieved March 20, 2018. "New Zealand single certifications – Bruno Mars feat. Cardi B – Finesse (Remix)". Recorded Music NZ. Retrieved March 2, 2018. "British single certifications – Bruno Mars feat. Cardi B – Finesse (Remix)". British Phonographic Industry. Retrieved February 9, 2018. Enter Finesse (Remix) in the search field and then press Enter. "New remix collaboration video of Bruno Mars and Cardi B for "Finesse"". Philippine Daily Inquirer. January 4, 2018. Retrieved January 4, 2018. "Bruno Mars - Finesse" (in Italian). Radio Airplay SRL. Retrieved January 8, 2018. "Top 40/M Future Releases". All Access. All Access Music Group. Archived from the original on January 4, 2018. Retrieved January 4, 2018. "BBC - Radio 1 - Playlist". BBC Radio 1. British Broadcasting Corporation. Archived from the original on January 13, 2018. Retrieved January 13, 2018. "Urban/UAC Future Releases". All Access. All Access Music Group. Archived from the original on January 4, 2018. Retrieved January 4, 2018. External links Lyrics of this song at MetroLyrics "Finesse" official audio on YouTube [show] v t e Bruno Mars songs [show] v t e Cardi B Categories: 2016 songs2018 singlesBruno Mars songsCardi B songsSongs about sexualitySongs written by Bruno MarsSongs written by James FauntleroySongs written by Philip Lawrence (songwriter)New jack swing songsBillboard Dance Club Songs number-one singlesBillboard Mainstream Top 40 (Pop Songs) number-one singlesSong recordings produced by The Stereotypes

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puppys-rhythm-heaven · 2 years

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love how my favorite ds remixes are the most hated ones. it's great seeing people hating on my favorite remixes whenever they're brought up. love seeing them only brought up to say they're repetitive n bad. soooooooooooooooo fun.

#puppy rambles #rhythm hell #remix 5 (ds)#remix 7 #/s #help #I JUST WANT PEOPLE TO SAY GOOD THINGS ABOUT DS' REMIXES WHY DOES THAT HAVE TO BE SO HARD #REMIX 1'S REPETITIVE BUT THE TEMPO CHANGES STILL MAKE IT COOL N IT'S A GOOD FIRST REMIX #REMIX 2'S REALLY SHORT BUT I LOVE HOW IT USES SHOOT-'EM-UP N MOAI DOO-WOP N ALSO RHYTHM RALLY #REMIX 3'S REALLY HARD BUT IT'S FUN #REMIX 4'S REALLY FUN N ALSO LOVECORE <333 #REMIX 5 IS REALLY FUN N IT BOPS N IT WAS MY FIRST SUPERB IN DS SO!!! SENTIMENTAL VALUE #REMIX 6 HAS BROKEN SPACE SOCCER TO LOCKSTEP TRANSITIONS BUT IT'S LIKE THE BEST SET GAME-WISE SO #REMIX 7 GIVES ME SEROTONIN #REMIX 8 IS REMIX 8 #REMIX 9 IS V GOOD BUT ALSO CLICKY NOISES :(#N REMIX 10 IS THE BEST MEDLEY REMIX #THERE I SAID SOMETHING GOOD ABOUT ALL OF THEM. REALLY NOT THAT HARD #‚‚‚ idk why i'm screaming #i'm angy >:c

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mastcomm · 4 years

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The Best and Worst of the Grammys

The 62nd annual Grammy Awards on Sunday were going to take place in the shadow of a scandal: the removal of the Recording Academy chief Deborah Dugan 10 days before the event and the stinging allegations of misconduct at the nonprofit that oversees the awards that she outlined in a complaint to the Equal Employment Opportunity Commission. Instead, they took place in the aftermath of tragedy: the death of Kobe Bryant in a helicopter crash at 41. The host Alicia Keys was tasked with responding to the basketball star’s death on-air; she chose to make a statement about “respect” after what she called “a hell of a week,” too.

Here are the show’s highlights and lowlights as we saw them.

Best Coronation: Billie Eilish

It’s been a long time since a phenomenon as talented, authentic, complex and delightfully of-the-moment as Billie Eilish took over the Grammys. She turned five of her six nominations into wins, victorious in all four major categories (album, song and record of the year, plus best new artist), becoming the first artist to sweep since Christopher Cross in 1981. At 18, she’s the youngest person to win album of the year. It is all richly deserved: “When We All Fall Asleep, Where Do We Go?” redefines teen-pop stardom, as Jon Pareles wrote in his review of the album. Eilish (working with her producer brother, Finneas O’Connell) digs her shapely talons into the conflicts that throb in our minds like her meticulously constructed tracks: anxiety and confidence, love and terror, fairy tales and reality. She is a genuine melting pot of pop history — goths, rappers, confessional singer-songwriters, all tucked into baggy clothes that defy all kinds of stereotypes. “Why,” she cried into the microphone as she accepted her first televised award, for song of the year. “Aye yi yi,” she started her second, for best new artist. “Please don’t be me,” she mouthed as album of the year was being announced. Finneas spoke up during their speech for the LP: “We wrote an album about depression and suicidal thoughts and climate change and being the ‘Bad Guy,’ whatever that means,” he said, “and we stand up here confused and grateful.” It was simply proof that sometimes the music industry does get it right. CARYN GANZ

Best Flown-in Flute: Lizzo

Ever the savvy trouper, Lizzo maximized her opening slot. “Tonight is for Kobe!” she proclaimed at the start, then launched into her screaming, rasping, sobbing, pealing “Cuz I Love You,” in a monumental black dress. An orchestral interlude threatened to turn “Truth Hurts” into Grammy kitsch, but it was just long enough for a costume change — then Lizzo was back with rhymes, skintight sequins, dancers and kiss-off sass. A flute descended on a plastic tray; she played just enough showy trills and runs, then growled harder to finish the song. If a prime-time network audience hadn’t already known who Lizzo is, they knew now. JON PARELES

Worst Use of an Award Presentation: Comedy Album

It’s conventional wisdom at this point that the Grammys are more of a concert special than an awards show, but presenting the trophy for best comedy album on a night where only nine awards were given over nearly four hours was absurd. On Sunday, that insult to musicians was compounded when Dave Chappelle won for the third straight year in the category — it’s not like they were giving a new face some shine — and then compounded once again by the fact that Chappelle, who might’ve at least given a speech to remember, did not even show up. (Poor Jim Gaffigan, and also every smaller artist in a genre category whose life would’ve been made by accepting a Grammy onstage.) Tanya Tucker accepted on Chappelle’s behalf, giving a halfhearted “I’m sure he thanks y’all.” Right. Sure. JOE COSCARELLI

Best Call to Arms: Sean (Diddy) Combs

There were only the faintest hints of skepticism at the Grammys on Sunday, only the mildest acknowledgment of the controversies that have been engulfing the Recording Academy for the past two weeks, and really, the past two years. Saturday night, however, Sean Combs received the Salute to Industry Icons Award at the Clive Davis and Recording Academy’s Pre-Grammy Gala, and Diddy did not mince words. “Truth be told, hip-hop has never been respected by the Grammys. Black music has never been respected by the Grammys to the point that it should be,” he said. “For years we’ve allowed institutions that have never had our best interests at heart to judge us. And that stops right now.” He issued a challenge to the Recording Academy to make radical changes in the next year, and urged his fellow artists and executives to be part of the evolution. And if things don’t change, Diddy’s predictions were dire: “We have the power. We decide what’s hot. If we don’t go, nobody goes. We don’t support, nobody supports.” JON CARAMANICA

Best Example of Someone Coming to Play: Tyler, the Creator

Taking the Grammys seriously is usually a fool’s task, yet there was something extremely endearing about the way Tyler, the Creator rose to the occasion, and beyond it. His red carpet look was crisp bellhop. His performance, of “Earfquake” and “New Magic Wand,” was fully engaged and rowdy. His best rap album acceptance speech was pointedly warm. And his backstage pressroom interview was frank. He received a lot from the Grammys last night, but he gave much more. CARAMANICA

Best Rock ’n’ Roll Mess: Aerosmith and Run-D.M.C.

It was not technically good. But it didn’t have to be good: It had to be insane, and on that point, it delivered. Steven Tyler side-skedaddled over to Joe Perry and dragged his scarf-draped mic stand around the Staples Center. Run-D.M.C. broke through a wall of bricks that looked like a prop from a middle school play. Everyone seemed to be yelling, record-scratching and guitar-soloing in the wrong key, at the wrong tempo, in the wrong decade. But the crowd was grinning and dancing, swept up in some magical blend of nostalgia and Tyler’s frontman charisma. (Two younger women in the front row were literally swept up by the latter. Cringe.) This was the party the Grammys have been trying, and failing, to capture for several years: the power of rock ’n’ roll lunacy, compressed into seven minutes of riffing, screaming and nonsense. GANZ

Worst Self-Cover Version: Aerosmith and Run-D.M.C.

Television cameras and headphone listening were merciless to Aerosmith, who paired up with Run-D.M.C. to recreate their shared 1986 remake of “Walk This Way,” which recharged Aerosmith’s career and introduced hip-hop to many rock fans. That was a long time ago. After Aerosmith plodded through “Livin’ on the Edge” — though Tyler playfully dragooned Lizzo for an impromptu audience singalong — Joe Perry fumbled his indelible opening riff for “Walk This Way.” Run-D.M.C. joined in for colliding vocals, overenthusiastic turntable scratching, incoherent solos from Perry and audience-participation high jinks from Tyler. It looked like fun, anyway. PARELES

Best Internet Fever Dream: Lil Nas X and Co.’s ‘Old Town Road’ Medley

Like most of what Lil Nas X has accomplished in the last year, his epic performance of “Old Town Road” at the Grammys was not primarily about the music. Instead, he attempted the magic act of making memeability translate to network television, and he more or less pulled it off, relying on an intricate rotating set where each door led to another layer of winks and smirks: BTS, underutilized but still electric, did its “(Seoul Town Road Remix)”; Mason Ramsey and Billy Ray Cyrus kept their SEO alive; and Diplo pretended to play a banjo, adding about as much as he did to the success of “Old Town Road” in the first place. For the close-watchers and “Road” completists, there was the empty chamber, featuring a green slimy skull, where Young Thug should have been, and rather than detracting from the unity, his absence just gave us all a chance to breathe amid the MDMA explosion. COSCARELLI

Worst Silencing: The Prince Tribute

FKA twigs learned pole dancing to make her video for “Cellophane,” adding it to an already impressive movement vocabulary. She is also, however, a songwriter and singer who explores complex intersections of carnality, power and devotion — as Prince did. So she was an intriguing choice to join a tribute to Prince, billed alongside Usher and Sheila E. But Prince’s music remained a man’s world on Grammy night, with a three-song medley that was a teaser for a full-length Prince tribute planned by the Recording Academy. The band added Vegas embellishments to the basics of Prince’s arrangements, Usher did the lead singing and some Prince moves, Sheila E. added percussion and FKA twigs only danced: lithe and precise, but merely ornamental. “Of course I wanted to sing,” she wrote on Twitter, but she took what she could get. PARELES

Best Combination of People Who Actually Know One Another: The Nipsey Hussle Tribute

In a show that included no shortage of tear-jerking and maybe too many musical/visual/emotional whiplash moments, the tribute to the Los Angeles rapper Nipsey Hussle, who was killed last year, at least had coherence on its side. Meek Mill started things off with a crisp verse that led seamlessly into an appearance by Roddy Ricch, a surging talent from Nipsey’s own neighborhood, before John Legend did his instant-gravitas thing. DJ Khaled shouted some aphorisms, YG showed off his impeccable style and some local inter-gang unity and then the gospel-crossover king Kirk Franklin brought the wave of emotion home with a choir in white and gold. Above the stage, a portrait of Nipsey was set next to one of Kobe Bryant, another hometown hero. All of these things make sense together, which is more than can be said for a lot of Grammys moments. COSCARELLI

Worst Sense of Pacing: Everyone Who Performed a Slow Song

I’ve complained before about the preponderance of ballads at the Grammys and this year was no exception. We get it: you’re a real musician whose songs are sturdy enough to be played on a grand piano. It’s not that, in isolation, any of these belted slow songs were especially bad, but between Camila Cabello, Billie Eilish, Demi Lovato, H.E.R., Tanya Tucker and Alicia Keys, the repeated down moments were just too down for a show that can already feel interminable. And at least half of those women are capable of lighting the place on fire à la Tyler, the Creator, so to see them stick with safety just feels like a missed opportunity, while also preventing any one minimalist performance from being truly showstopping. On the other hand, if ballads are the key to keeping CBS viewers tuned in, skipping over album of the year nominee Lana Del Rey, whose “Norman ___ Rockwell!” was full of modern-day, lightly subversive torch songs, was extra foolish. COSCARELLI

Best Simplicity: Tanya Tucker

The Grammys love their ballads overmuch — see above — but Tanya Tucker’s “Bring My Flowers Now” needed only her leathery twang and co-writer Brandi Carlile’s piano chords and vocal harmony to tell its story. After 20 years between albums, Carlile and collaborators convinced Tucker, now 61, to record again. The song greets looming mortality with pragmatism. “Don’t you spend time, tears or money/On my old breathless body,” she sang, her voice lived-in and completely convincing. PARELES

Worst (and Worst-Timed) Statement of Emotional Fidelity: Blake Shelton and Gwen Stefani

The rictus ran heavy throughout “Nobody But You” by the real-life couple Blake Shelton and Gwen Stefani. A country singer and a flexible pop singer, they don’t have any natural musical chemistry, and this performance was dry and awkward. That it was the first music played following the musical tribute to Kobe Bryant only made it grimmer. CARAMANICA

Best Guitar Heroics: Gary Clark Jr. and H.E.R.

“This Land,” by the Texas blues-rocker Gary Clark Jr., confronts hostile neighbors with property rights. Backed by the Roots, Clark blasted its blues-reggae riff, snarled the lyrics and played the kind of overdriven solo that drew screams from the audience. It’s what he’s known for; he was back for the show’s “Fame” finale. But it was H.E.R. — a recent Grammy darling for her old-school musicianship — who made the surprise attack. Her song “Sometimes” started, like so many others on the show, as an unadorned piano ballad about overcoming obstacles; a mini-orchestra joined her. But as the song built, suddenly H.E.R. had a guitar in hand and she was making it wail and shred. It was just eight bars, but it made its point completely. PARELES

Worst Encapsulation of the Way It Used to Be (and Hopefully No Longer Will Be): ‘I Sing the Body Electric’

This is the final year of Ken Ehrlich’s 40-year run as the show’s executive producer, which means this might be the final time we see a precision-executed, umpteen-minute-long so-called Grammy Moment that scrambles together rappers, singers, dancers, Grammy stalwarts (Lang Lang! Gary Clark Jr.!) and music students … and that would be just fine. CARAMANICA

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