Drake - Hold On, We're Going Home ft. Majid Jordan - Video, Review and Lyrics

 

Lyrics

 

[Verse]
I got my eyes on you, you're everything that I see
I want your hot love and emotion endlessly
I can't get over you, you left your mark on me
I want your hot love and emotion endlessly

[Pre-Hook]
Cause you're a good girl and you know it
You act so different around me
Cause you're a good girl and you know it
I know exactly who you could be

[Hook]
Just hold on we're going home
Just hold on we're going home
It's hard to do these things alone
Just hold on we're going home

[Verse + Pre-Hook + Hook]

[Bridge: Majid Jordan x2]
You're the girl, you're the one
Gave you everything I loved
I think there's something, baby
I think there's something, baby

 

Review

 

Drake makes a significant change in direction here away from hip hop to 80s inspired soul music, and it works. The deep, airy production is the biggest star here. "Hold On We're Going Home" may be a bit spare lyrically, but the sound is elegant and pleasing matching perfectly the retro atmosphere of many of this year's biggest pop hits.

Pros

• Elegant, spare production
• Smooth 80s soul sound
• Drake's confident singing

Cons

• Simple nature of the song

Description

• Produced by Majid Jordan and Noah "40" Shebib
• Included on album 'Nothing Was the Same'
• Released August 2013 by Cash Money

Guide Review - Drake - "Hold On We're Going Home" featuring Majid Jordan

When "Hold On We're Going Home" kicks off with drum machine and lightly ticking percussion effects, you might think you have taken a time machine back to the early 80s. As Drake begins to sing the overall impact is that of slick, but warm soul music perfect for a sultry summer night. This is a significant change of pace from Drake's recent hip hop hits. However, we've always known he can sing from the first major hit "Best I Ever Had" to the ultra-elegant "Take Care" with Rihanna. The difference here is that "Hold On We're Going Home" is more relaxed and unassuming than most all of his past releases. The relaxed nature sounds like maturation.
Lyrically, this song is light as air, but there is a resonance in the production that helps the words of love and devotion sink in. The words are also completely clean, which is a rarity for a Drake single release. Majid Jordan, a production duo made up of Majid Al Maskati and Jordan Ullman, provide the beautiful, spare backing vocals as well as playing a major role in the overall sound of the track. Particularly beautiful is the echoing, nearly beatless, extended bridge that kicks into the song's final reprise. Majid Jordan are not well known yet, but the elegance of this track seems to indicate they soon will be.
Drake's recent hit "Started From the Bottom" quickly rose into the top 10 of the Billboard Hot 100 but it failed to get significant attention from mainstream pop radio. "Hold On We're Going Home" seems destined to reverse that problem. It is likely to be appealing to both mainstream pop and R&B radio programmers. It is an elegant addition to end of the summer playlists with the soul and disco influences allowing the song to bookend Daft Punk's "Get Lucky" kickoff to the summer of 2013.

 

OneRepublic - Counting Stars - Video, Review and Lyrics

Lyrics

Lately I been, I been losing sleep
Dreaming about the things that we could be
But baby, I been, I been prayin' hard
Said no more counting dollars
We'll be counting stars
Yeah, we'll be counting stars

[Verse 1]
I see this life
Like a swinging vine
Swing my heart across the line
In my face is flashing signs
Seek it out and ye shall find

Old, but I'm not that old
Young, but I'm not that bold
And I don't think the world is sold
I'm just doing what we're told

I feel something so right
By doing the wrong thing
And I feel something so wrong
By doing the right thing
I could lie, could lie, could lie
Everything that kills me makes me feel alive

[Chorus]
Lately I been, I been losing sleep (hey!)
Dreaming about the things that we could be
But baby, I been, I been prayin' hard (hey!)
Said no more counting dollars
We'll be counting stars
Lately I been, I been losing sleep (hey!)
Dreaming about the things that we could be
But baby, I been, I been prayin' hard (hey!)
Said no more counting dollars
We'll be, we'll be counting stars

[Verse 2]
I feel the love
And I feel it burn
Down this river every turn
Hope is a four letter word
Make that money
Watch it burn

Old, but I'm not that old
Young, but I'm not that bold
And I don't think the world is sold
I'm just doing what we're told

And I feel something so wrong
By doing the right thing
I could lie, could lie, could lie
Everything that downs me makes me wanna fly

[Chorus]
Lately I been, I been losing sleep (hey!)
Dreaming about the things that we could be
But baby, I been, I been prayin' hard
Said no more counting dollars
We'll be counting stars
Lately I been, I been losing sleep (hey!)
Dreaming about the things that we could be
But baby, I been, I been prayin' hard (hey!)
Said no more counting dollars
We'll be, we'll be counting stars

[Bridge 4x:]
Take that money
Watch it burn
Sink in the river
The lessons I learned

Everything that kills me makes me feel alive

[Chorus]
Lately I been, I been losing sleep (hey!)
Dreaming about the things that we could be
But baby, I been, I been prayin' hard (hey!)
Said no more counting dollars
We'll be counting stars
Lately I been, I been losing sleep
Dreaming about the things that we could be
But baby, I been, I been prayin' hard
Said no more counting dollars
We'll be, we'll be counting stars

[Outro 4x:]
Take that money
Watch it burn
Sink in the river
The lessons I learned 

Review

OneRepublic released Counting Stars as the second single off Native. While the band's latest album became their highest charting album to date, its singles Feel Again and If I Lose Myself are not chart success stories. Although the former managed to hit platinum with 1,000,000 sales.

While the previous tunes released are reminiscent of Coldplay's style, Counting Stars brings us back to their roots. The song borrowed sound from their Dreaming Out Loud pop rock production mixed with indie elements which makes it edgier than their debut recordings. The chorus alone shows the difference as it doesn't rely on catchy hooks.

Radio support might be the least concern of OneRepublic these days. They are more interested in reaching out to a wider audience. Maybe, having their songs played in the movies might do the trick just like how The Sorcerer's Apprentice pushed Secrets on a higher pedestal. But I'm not sure this song will do that. Burning Bridges has bigger chance.

Eminem - The Monster ft. Rihanna - Video, Review and Lyrics

Lyrics

[Chorus - Rihanna]
I'm friends with the monster
That's under my bed
Get along with the voices inside of my head
You're trying to save me
Stop holding your breath
And you think I'm crazy
Yeah, you think I'm crazy (crazy)

[Eminem - Verse 1]
I wanted the fame, but not the cover of Newsweek
Oh well, guess beggers can't be choosey
Wanted to receive attention for my music
Wanted to be left alone, public excuse me
Been wanting my cake, I need it too
Wanting it both ways
Fame may be a balloon cause my ego inflated
When I blew seep it was confusing
Cause all I wanted to do is be the Bruce Lee of loose leaf
Abused ink, used it as a tool when I blew steam
Hit the lottery (oh wee)
With what I gave up to get was bittersweet
It was like winning a huge meet
Ironic 'cause I think I'm getting so huge I need a shrink
I'm beginning to lose sleep: one sheep, two sheep
Going cucko and cuckier as Kool Keith
But I'm actually weirder than you think
Cause I'm...

[Chorus]
I'm friends with the monster
That's under my bed
Get along with the voices inside of my head
You're trying to save me
Stop holding your breath
And you think I'm crazy
Yeah, you think I'm crazy

Well, that's nothing
Well, that's nothing

[Eminem - Verse 2]
Now I ain't much of a poet
But I know somebody once told me to seize the moment
And don't squander it
Cause you never know when it all could be over
Tomorrow so I keep conjuring
Sometimes I wonder where these thoughts spawn from
(Yeah, ponder it, do you wonder there's no wonder you're losing your mind the way you're brought up?)
I think you've been wandering off down yonder and stumbled on Jeff VanVonderen
Cause I needed an intervention in this to intervene between me and this monster
And save me from myself and all this conflict
Cause the very things that I love is killing me and I can't conquer it
My OCD is clonking me in the head
Keep knocking, nobody's home, I'm sleepwalking
I'm just relaying what the voice of my head saying
Don't shoot the messenger, I'm just friends with the...

[Chorus]
I'm friends with the monster
That's under my bed
Get along with the voices inside of my head
You're trying to save me
Stop holding your breath
And you think I'm crazy
Yeah, you think I'm crazy

Well, that's nothing
Well, that's nothing

[Eminem - Verse 3]
Call me crazy, but I had this vision
One day that I'd walk amongst you regular civilians
But until then drums get killed I'm coming straight at
Emcees, blood get spilled and I
Take it back to the days that I get on a Dre track
Give every kid who got played gat
Pumped the villian and sh*t that say back
To the kids who played 'em
I ain't here to save the f*cking children
But if one kid out of a hundred million
Who are going through a struggle feels and relates that's great
It's payback, Russell Wilson falling way back
In the draft, turn nothing into something, still can make that
Straw in the gold chump I will spend
Rumpelstiltskin in a hay stack
Maybe I need a straightjacket, face facts
I am nuts for real, but I'm okay with that
It's nothing, I'm still friends with a...

[Bridge]
I'm friends with the monster
That's under my bed
Get along with the voices inside of my head
You're trying to save me
Stop holding your breath
And you think I'm crazy
Yeah, you think I'm crazy

I'm friends with the monster
That's under my bed
Get along with the voices inside of my head
You're trying to save me
Stop holding your breath
And you think I'm crazy
Yeah, you think I'm crazy

Well, that's nothing

Review

‘Love the Way You Lie,’ Eminem‘s weighty duet with Rihanna, which explored a crumbling and destructive relationship, was one of the biggest hits of both of their careers. It makes sense for them to reprise with ‘The Monster,’ which will appear on his ‘The Marshall Mathers LP 2′ and is a much more upbeat and less serious track, sonically speaking. It’s not nearly as powerful or affective as the previous partnership, but it’s not supposed to be.
While the song does address mental health issues — essentially, the rapper and the topless wonder of the world admit to being bonkers — it isn’t melancholic. Em and Ri sing about OCD, the voices in their heads and more. While the song is lighthearted, their attitudes really are not. It’s as if they’re saying (and rapping and singing) that it’s okay to be cray cray.
Rihanna’s icy voice delivers the intro and the choruses, while Em pops off rhymes in the verses, with his trademark nasally style. “Everything that I love is killing me / And I can’t conquer it” is one of his most poignant lines, while RiRi sings about being friends with the monster under her bed. But when Em sings about being crazy, we can’t help but wonder if the monsters they sing about are really just the darker sides of themselves.
There is some vulnerability in the lyrics and some poppy synths sprinkled at the end of the choruses, but the whole song leads up to the final 30 seconds, which build up to a harmony and a fade out.
Em and Ri have undeniable vocal chemistry and it asserts itself on ‘Monster.’ This song has nothing to do with goblins and ghouls, unless, of course, they’re of the mental sort.

"Applause" by Lady Gaga - Video, Review and Lyrics

Lyrics

[Verse 1:]
I stand here waiting for you to bang the gong
To crash the critic saying, "Is it right or is it wrong?"
If only fame had an I.V., baby could I bear
Being away from you, I found the vein, put it in here

I live for the applause, applause, applause
I live for the applause-plause
Live for the applause-plause
Live for the way that you cheer and scream for me
The applause, applause, applause

Give me that thing that I love (I'll turn the lights on)
Put your hands up, make 'em touch, touch (make it real loud)
Give me that thing that I love (I'll turn the lights on)
Put your hands up, make 'em touch, touch (make it real loud)

(A-P-P-L-A-U-S-E) Make it real loud
(A-P-P-L-A-U-S-E) Put your hands up, make 'em touch, touch
(A-P-P-L-A-U-S-E) Make it real loud
(A-P-P-L-A-U-S-E) Put your hands up, make 'em touch, touch

[Verse 2:]
I've overheard your theory "nostalgia's for geeks"
I guess sir, if you say so, some of us just like to read
One second I'm a Koons, then suddenly the Koons is me
Pop culture was in art, now art's in pop culture in me

I live for the applause, applause, applause
I live for the applause-plause
Live for the applause-plause
Live for the way that you cheer and scream for me
The applause, applause, applause

Give me that thing that I love (I'll turn the lights on)
Put your hands up, make 'em touch, touch (make it real loud)
Give me that thing that I love (I'll turn the lights on)
Put your hands up, make 'em touch, touch (make it real loud)

(A-P-P-L-A-U-S-E) Make it real loud
(A-P-P-L-A-U-S-E) Put your hands up, make 'em touch, touch
(A-P-P-L-A-U-S-E) Make it real loud
(A-P-P-L-A-U-S-E) Put your hands up, make 'em touch, touch

[Bridge:]
Touch, touch
Touch, touch now
Ooh-ooh-ooh-hoo
Ooh-ooh-ooh-hoo
Ooh-ooh-ooh-hoo
Ooh-ooh

I live for the applause, applause, applause
I live for the applause-plause
Live for the applause-plause
Live for the way that you cheer and scream for me.
The applause, applause, applause

Give me that thing that I love (I'll turn the lights on)
Put your hands up, make 'em touch, touch (make it real loud)
Give me that thing that I love (I'll turn the lights on)
Put your hands up, make 'em touch, touch (make it real loud)

(A-P-P-L-A-U-S-E) Make it real loud
(A-P-P-L-A-U-S-E) Put your hands up, make 'em touch (make it real loud)
(A-P-P-L-A-U-S-E) Make it real loud
(A-P-P-L-A-U-S-E) Put your hands up, make 'em touch, touch
 
Review

Does it matter if Lady Gaga’s derivative? This debate has been going on ever since La Gaga first arrived on the scene, complete with an image carefully constructed from the detritus of performance art and queer culture, and the promotional budget to sell gazillions of records. It’s started up again after the release of the video for new single “Applause,” which, as with all of Gaga’s work, lifted imagery and aesthetics from a variety of sources. This morning saw the arrival of the “So what if Gaga is derivative?!” pieces, like this one in Slate. I submit that they’re answering the wrong question.


The thing with this argument is that it doesn’t really matter whether you think Gaga is ripping off other artists, or “paying homage” to their work, or whatever else — this is ultimately semantics, because the fundamental point is that her work borrows plentifully and unabashedly from various sources. And really, who cares? As plenty of people have pointed out, artists have been doing this since art has existed — nothing is without precedent or inspiration, and indeed, I’ve written in defense of other artists who’ve been accused of the same thing. (It’s also worth noting that Madonna, who Gaga is so often accused of aping, is also not above lifting others’ ideas.)

In this respect, Gaga is a quintessentially postmodern artist — her work has always existed in a sort of border zone between intertexutality and pastiche, full of in-jokes and knowing references to the work of others. You either find this approach compelling or you don’t, but the question isn’t so much whether artists should be borrowing other artists’ ideas — it’s what they do with those ideas. Do they add up to anything greater than the sum of their parts? Do they serve any purpose? Or are they just there to demonstrate how clever/informed/postmodern the person borrowing them is?

It’s here that “Applause” falls down, because it’s postmodernism without purpose. Sure, it’s fun playing “look at all these references” — we did so (with pursed lips, apparently) yesterday. But really, it’s only interesting if you happen to have studied and/or enjoyed the work of the same people Gaga’s clearly been swotting up on: German expressionist cinema, fallow-era David Bowie, and, of course, pop art. Beyond that, there’s nothing there. Even if you understand what it’s referring to, the imagery is just imagery; it adds up to nothing more than a series of costume changes.

You could argue that it’s ever been thus with Gaga, of course — that her entire aesthetic has always been a sort of edifice constructed on a victory of style over substance. Certainly, there’s been plenty of justified criticism of some of her more vapid aesthetic decisions. You might also argue that the only difference between “Applause” and, say, “Paparazzi” is that the latter is better. You may or may not have a point, but at least in the case of the latter, there was some sort of narrative and the sense that the video’s sensory bombardment served the purpose of some greater idea.

“Applause,” by contrast, is empty self-referentialism, both in its visual aesthetic and its lyrics: “I live for the applause.” But we’ve always known that — Gaga’s entire career has revolved around being that girl in drama class who stands up on stage and demands that everyone look at her. This isn’t in and of itself interesting, and ”Applause” just creates a sort of empty feedback loop — it’s saying nothing about nothing, so much so that, as The Atlantic‘s Spencer Kornhaber pointed out this morning, it bears an uncanny resemblance to Weird Al Yankovic’s dead-on Gaga parody “Perform This Way.”

And the thing is that Gaga appears to know it. It’s perhaps instructive that she references Jeff Koons in this song, given that along with latter-period Damien Hirst he’s perhaps the greatest contemporary example of the artist as unclad emperor. All the “ignore the critics” stuff… the tiresome meta-ness of the ARTPOP trailer… They’re basically ways of saying “It doesn’t matter if this sucks.” It’s the same sort of preemptive defense as saying, “Oh, it’s ironic,” and just like that strategy, it’s fundamentally pusillanimous. Because it does matter.

If, as MTV’s James Montgomery argued yesterday, “[Gaga is] willing to do anything to please the public,” maybe she should stop justifying not having any new ideas and, y’know, come up with some new ideas. Because even if her derivative style has worked in the past, “Applause” is, to quote an avatar of modernism, “a heap of broken images.” What branches grow out of this stony rubbish? So far, none at all.

Jay Z ft Justin Timberlake - Holy Grail Video, Review and Lyrics

Lyrics

 [Intro: Justin Timberlake]

You'd take the clothes off my back and I'd let you
You'd steal the food right out my mouth and I'd watch you eat it
I still don’t know why, why I love you so much, ohh
You curse my name, in spite to put me to shame
Have my laundry in the streets, dirty or clean, give it up for fame
But I still don't know why, why I love it so much
 [Hook: Justin Timberlake]
And baby, it's amazing I'm in this maze with you
I just can't crack your code
 One day you screaming you love me loud
 The next day you're so cold
One day you're here, one day you're there, one day you care
You're so unfair, sipping from your cup 'til it runneth over, Holy Grail
 [Verse 1: Jay-Z]
Blue told me remind you niggas
 Fuck that shit y'all talking 'bout, I'm the nigga
 Caught up in all these lights and cameras
 But look what that shit did to Hammer
Goddammit it I like it
 Bright lights is enticing but look what it did to Tyson
All that money in one night, thirty mill for one fight
 But soon as all the money blows, all the pigeons take flight
Fuck the fame, keep cheating on me, what I do, I took her back
 Fool me twice, that's my bad, I can't even blame her for that
Enough to make me wanna murder, momma please just get my bail
I know nobody to blame, Kurt Cobain, I did it to myself
[Bridge: Justin Timberlake]
 And we all just entertainers
 And we're stupid and contagious
 And we all just entertainers
 [Hook]
 [Verse 2: Jay-Z]
Now I got tattoos on my body, psycho bitches in my lobby
I got haters in the paper, photo shoots with paparazzi
 Can't even take my daughter for a walk, see 'em by the corner store
 I feel like I'm cornered off enough is enough, I'm calling this off
Who the fuck I'm kidding though, I'm getting high, sitting low
 Sliding by in that big body, curtains all in my window
This fame hurt but this chain works, I think back you asked the same person
 If this is all you had to deal with, nigga deal with, this shit ain't work
This light work, camera snapping, my eyes hurt
Niggas dying back where I was birthed, fuck your IRIS and the IRS
Get the hell up off your high horse
You got the shit that niggas die for, dry yours
 Why you mad, take the good with the bad
 Don't throw the baby out with the bath water
You still alive, still that nigga
 Nigga you survived, you still getting bigger nigga
Living the life, Vanilla wafers in a villa
Illest nigga alive, Michael Jackson's Thriller
 [Hook]
 [Bridge: Justin Timberlake]
You get the air out my lungs whenever you need it
And you take the blade right out my heart, just so you can watch me bleed
And I still don’t know why, why I love you so much, yeah
And you play this game in spite to drive me insane
 I got it tattooed on my sleeve forever in ink with guess whose name
But I still don't know why, why our love is so muAnnotatech

Review

Jay-Z is richer than God, and probably about as famous. He headlines the hugest rock festivals, parties with Warren Buffett and, thanks to an unprecedented business maneuver, his 12th solo album went platinum before it even came out. What could he possibly have to complain about?

Plenty, it turns out. "Fuck the fame," Jay spits on the LP's surprisingly moody opener, "Holy Grail," where he vents about intrusive paparazzi and fickle fans, name-checks Kurt Cobain and brings out his buddy Justin Timberlake for a round of twisted "Teen Spirit" karaoke: "And we're all just entertainers/And we're stupid and contagious." And, yet, on the next song, "Picasso Baby," he's celebrating the perks of superstardom by giving us a grand tour of his art collection, displaying his Basquiats, Warhols and Rothkos – names he's been working into his verses for years – over a museum-quality boom-bap backdrop: "House like the Louvre or the Tate Modern/Because I be going ape at the auction."

This is how it goes for most of Magna Carta . . . Holy Grail. Jay-Z sorts through his mixed feelings about celebrity, then cheers himself up by itemizing the awesome things he owns. The production, mostly handled by Timbaland, is woozy and grand – another luxury possession. But Jay often sounds like he's trying to convince himself that he should still be excited about making music. What's disappointing is, he doesn't always seem to be winning that argument.

Take "Tom Ford," which might mark the lyrical nadir of Jay-Z's catalog. "Numbers don't lie, check the scoreboard," he says in a distracted tone. "Tom Ford, Tom Ford, Tom Ford." He sounds bored half to death by the basic rhyme, listlessly repeating the designer's name like it's going to magically transform into a clever or catchy hook. It hurts to see him waste a primo Timbaland beat like this. What happened to the guy who would have devoured those jiggly synth squelches a couple of years ago?

In part, he's the victim of his own remarkable longevity and extraordinary success. Jay-Z has been telling us about himself since 1996. He retired, then unretired, and that was four albums ago. Maybe he's starting to run out of things to say – or maybe, absent a foil like Kanye West on 2011's superb Watch the Throne or Kendrick Lamar on this year's "Bitch, Don't Kill My Vibe" remix, he can't find the energy to push himself creatively.

Even at his most checked-out, Jay-Z remains a great MC; listen to how he layers his imagery on the Frank Ocean-assisted "Oceans": "On the holiday, playing 'Strange Fruit'/If I'm-a make it to a billi, I can't take the same route." But there's not much on Magna Carta . . . Holy Grail that he hasn't said before in more interesting ways.

He sounds most engaged on "Jay-Z Blue," where he grapples with his deepest fears about parenthood: "Father never taught me how to be a father, treat a mother/I don't wanna have to just repeat another, leave another/Baby with no daddy." It's a vivid, powerful moment that reminds you what he can do when he really cares.

Lorde - Royals Video, Lyrics, and Review

Lyrics

"Royals"

[Verse 1]
I've never seen a diamond in the flesh
I cut my teeth on wedding rings in the movies
And I'm not proud of my address,
In the torn-up town, no post code envy

[Hook]
But every song's like gold teeth, grey goose, trippin' in the bathroom
Blood stains, ball gowns, trashin' the hotel room,
We don't care, we're driving Cadillacs in our dreams.
But everybody's like Cristal, Maybach, diamonds on your time piece.
Jet planes, islands, tigers on a gold leash.
We don't care, we aren't caught up in your love affair.

And we'll never be royals (royals).
It don't run in our blood,
That kind of luxe just ain't for us.
We crave a different kind of buzz.
Let me be your ruler (ruler),
You can call me queen Bee
And baby I'll rule, I'll rule, I'll rule, I'll rule.
Let me live that fantasy.

[Verse 2]
My friends and I – we've cracked the code.
We count our dollars on the train to the party.
And everyone who knows us knows that we're fine with this,
We didn't come from money.

[Hook]
But every song's like gold teeth, grey goose, trippin' in the bathroom.
Blood stains, ball gowns, trashin' the hotel room,
We don't care, we're driving Cadillacs in our dreams.
But everybody's like Cristal, Maybach, diamonds on your time piece.
Jet planes, islands, tigers on a gold leash
We don't care, we aren't caught up in your love affair

And we'll never be royals (royals).
It don't run in our blood
That kind of luxe just ain't for us.
We crave a different kind of buzz.
Let me be your ruler (ruler),
You can call me queen Bee
And baby I'll rule, I'll rule, I'll rule, I'll rule.
Let me live that fantasy.

Ooh ooh oh
We're bigger than we ever dreamed,
And I'm in love with being queen.
Ooh ooh oh
Life is game without a care
We aren't caught up in your love affair.

And we'll never be royals (royals).
It don't run in our blood
That kind of luxe just ain't for us.
We crave a different kind of buzz
Let me be your ruler (ruler),
You can call me queen Bee
And baby I'll rule, I'll rule, I'll rule, I'll rule.
Let me live that fantasy.

 

Review

 

A coy flutter, a sly smirk: "I met Kanye West yesterday." You wouldn't expect such breathless name-dropping from New Zealand's Lorde, AKA 16-year-old minimalist wunderkind Ella Yelich-O'Connor. Given she is the first woman to top Billboard's Alternative Songs chart in 17 years with her EP The Love Club, much has been made of her in-song rejections of celebrity and pop culture mores. Her click-soul breakthrough track Royals decries the enforced fantasies of Hello! culture and rap videos full of diamond watches and Maybachs, while on Team she snarls: "I'm kinda over getting told to throw my hands up in the air." She's touted as the voice of a savvy new generation, yet her aesthetic at this first London show – which sold out in four minutes – is more classical than counter-cultural. Her black-lace outfit recalls pre-Raphaelite Kate Bush or Vampira, her sneers are pure Dietrich, her cat-claw poses totally, well, Cleo Rocos. She's a freshly fired antique.

Her luxuriant voice similarly runs the gamut of leftfield pop – Lana's purrs, Regina's quirks, Zola Jesus's boom, the urban urchin squeaks of Chloe Howl. And despite her billing as the most self-determining artist ever spotted by a major label at the age of 12 and kept "in development" for four years, you suspect boardroom meddling behind the soft-step controversy of naming her debut album Pure Heroine. Her music, though, is undeniably authentic. At times she's reminiscent of James Blake, her triple-tracked vocals backed by sparse tribal drums and a ethereal keyboards.

From the repetitive menace of Biting Down and the icy calypso Buzzcut Season, she artfully builds tension throughout; Anna Calvi would dollop theatrical bombast all over her a cover of the Replacements' Swingin' Party, but here its restrained throb oozes quiet power.

As Royals prompts a hushed sing-along, the beats burst from Lorde's dense bubble and 400 Lux and A World Alone become dark disco diamonds. "Pretty soon I'll be getting on my first plane," she coos in Tennis Court, and you feel the relief that her four years in pop's traps are over. Now's her time to glower.

Miley Cyrus "Wrecking Ball" Video, Lyrics and Review

Lyrics

We clawed, we chained, our hearts in vain

We jumped, never asking why
We kissed, I fell under your spell
A love no one could deny

Don't you ever say I just walked away
I will always want you
I can't live a lie, running for my life
I will always want you

I came in like a wrecking ball
I never hit so hard in love
All I wanted was to break your walls
All you ever did was wreck me
Yeah, you, you wreck me

I put you high up in the sky
And now, you're not coming down
It slowly turned, you let me burn
And now, we're ashes on the ground

Don't you ever say I just walked away
I will always want you
I can't live a lie, running for my life
I will always want you

I came in like a wrecking ball
I never hit so hard in love
All I wanted was to break your walls
All you ever did was wreck me

I came in like a wrecking ball
Yeah, I just closed my eyes and swung
Left me crashing in a blazing fall
All you ever did was wreck me
Yeah, you, you wreck me

I never meant to start a war
I just wanted you to let me in
And instead of using force
I guess I should've let you win
I never meant to start a war
I just wanted you to let me in
I guess I should've let you win

Don't you ever say I just walked away
I will always want you

I came in like a wrecking ball
I never hit so hard in love
All I wanted was to break your walls
All you ever did was wreck me

I came in like a wrecking ball
Yeah, I just closed my eyes and swung
Left me crashing in a blazing fall
All you ever did was wreck me
Yeah, you, you wreck me
Yeah, you, you wreck me

Review

"Wrecking Ball" is a song recorded by American singer Miley Cyrus for her upcoming fourth studio album, Bangerz (2013). The song was released as a digital download on August 25, 2013. It was sent to American radio on September 16, 2013. "Wrecking Ball" was written by Lukasz Gottwald, Maureen Anne McDonald, Stephan Moccio, Sacha Skarbek and Henry Russell Walter. The song was produced by Dr. Luke and Henry Russell Walter under his production name, Cirkut. Both the song and its music video received mixed reviews from critics. It reached number one on the U.S. Billboard Hot 100, becoming her first number one hit in the country.

Upon its release, the song received mixed to positive reviews from critics. Complex wrote: "This song seems to be a very personal one for the young singer, as she addresses love and heart break in a very passionate manner" and described it as a "drastic departure" from the "happy-go-lucky content" of We Can't Stop.^[17] Popdust described it as "a power ballad from the '80s or a Demi Lovato song. A little angsty, but certainly a nice foil to the debauchery of 'We Can’t Stop'."^[18] HitFix gave it a "D+" grade, saying: "is a blunt-force instrument of pop songcraft that could've easily been sung by Katy Perry and in that sense it more than lives up to its central metaphor. But while the song is fine in its quieter moments, it's so overwrought on the chorus that, like the tune's narrator (who I'll assume to be Cyrus herself), it tries to "force" its way in when it should have trusted its audience to get the message without being battered by it."^[19]
PMC-Magazine named it #1 in their Top Ten Anti-Work Anthems for Labor Day.^[20] It was nominated for Best Song at the 2013 World Music Awards.

Is Justin Bieber with Miley Cyrus now?

Is Justin Bieber with Miley Cyrus now?

Miley Cyrus says it's "impossible" that she's more than friends with Justin Bieber ... despite the public flirting ... 'cause she's currently engaged to someone else.

Miley called in to Hot 99.5 in D.C. this morning ... and actually responded when the DJ asked if the photos on TMZ showing Miley and Bieber flirting in public this weekend prove they're "more than friends."

Her response: "I'm ENGAGED!" she said, chuckling. "I'm engaged. That is impossible."

It's an interesting statement for two reasons -- first, it clears up the rumors that she broke things off with Liam Hemsworth.

Second, when it came to being more than friends with Justin ... her answer isn't exactly a strong "no."

Luke Bryan - Crash My Party - Video, Review and Lyrics

Lyrics

It don’t matter what plans I got, I can break ‘em.
Yeah, I can turn this thing around at the next red light
And I don’t mind telling all the guys I can’t meet ‘em.
Hell, we can all go raise some hell on any other night

Girl, I don’t care. Oh I just gotta see what you’re wearing.
Your hair, is it pulled up or falling down?
Oh I just have to see it now.

[Chorus:]
If you wanna call me, call me, call me.
You don’t have to worry ‘bout it baby.
You can wake me up in the dead of the night;
Wreck my plans, baby that’s alright.
This is a drop everything kind of thing.
Swing on by I'll pour you a drink.
The door’s unlocked. I’ll leave on the lights
Baby you can crash my party anytime.

Ain’t a spot downtown that’s rockin’ the way that you rock me.
Ain’t a bar that can make me buzz the way that you do.
I could be on the front row of the best show.
And look down and see your face on my phone.
And I’m gone so long, hang on. I’ll meet you in a minute or two.

[Chorus]

If it’s 2 in the morning
And you’re feeling lonely
And wondering what I’m doing...

[Chorus:]
Go ahead and call me, call me, call me
You don’t have to worry ‘bout it baby.
You can wake me up in the dead of the night;
Wreck my plans, baby that’s alright.
This is a drop everything kind of thing.
Swing on by I'll pour you a drink.
The door’s unlocked. I’ll leave on the lights
Baby you can crash my party anytime.

(Call me, call me, call me)

Baby you can crash my party anytime. 

Review

The third time may be the charm, but for Luke Bryan, the fourth is the monster. Crash My Party, studio album No. 4 from Luke, is geared to blast the Georgia boy into the rarified air of country’s superstars. All the imagery his fans have come to demand is there: tanned legs swinging over tailgates, starry Southern nights, red Georgia clay and an endless supply of cold cans.

Two songs, in fact, have “beer” in their titles, and both are intoxicating. “Beer in the Headlights” twists the mesmerized-deer idiom with some clever wordplay, and “Drink a Beer,” co-written by Chris Stapleton, poignantly memorializes a fallen friend. Other entries excel at nostalgia.

“We Run This Town” reflects on those days when being a teenager felt like being king of the world, or at least of your small town, while “Blood Brothers” is a one-for-all/all-for-one anthem. “Dirt Road Diary,” one of two songs Luke co-wrote, is a snapshot of his upbringing. It closes out Crash My Party and stands as the album’s high point.

Conversely, the weakest track is its opener, “That’s My Kind of Night,” a mishmash of hip-hop tropes (make it rain), country clichés (diamond-plate tailgate) and inane couplets that sound like something Guy Fieri would riff on in Diners, Drive-Ins and Dives (Catch us up a little catfish dinner / Gonna sound like a winner). “Play It Again,” though likely a hit waiting to happen, also drops that same time-worn tailgate.

In the future, it’d be nice to see Luke, the reigning ACM Entertainer of the Year, grow out of the fields he’s so clearly comfortable in. But for now, if the soil is still bearing fruit, you can’t blame him for continuing to plow ahead.

Carrie Underwood - See You Again - Video, Lyrics and Review

Lyrics

Oh oh oh oh oh oh oh oh oh oh oh [2x]

Said goodbye, turned around
And you were gone, gone, gone
Faded into the setting sun,
Slipped away
But I won’t cry
Cause I know I’ll never be lonely
For you are the stars to me,
You are the light I follow

[Chorus:]
I will see you again, whoa
This is not where it ends
I will carry you with me, oh
'Til I see you again

Oh oh oh oh oh oh oh oh oh oh oh [2x]

I can hear those echoes in the wind at night
Calling me back in time
Back to you
In a place far away
Where the water meets the sky
The thought of it makes me smile
You are my tomorrow

[Chorus:]
I will see you again, whoa
This is not where it ends
I will carry you with me, oh
'Til I see you again

Oh oh oh oh oh oh oh oh oh oh oh [2x]

[Bridge:]
Sometimes I feel my heart is breaking
But I stay strong and I hold on cause I know

I will see you again, whoa
This is not where it ends
I will carry you with me, yeah, yeah

[Outro:]
I will see you again, whoa
This is not where it ends
I will carry you with me, oh
'Til I see you again.

Oh oh oh oh oh oh oh oh oh oh oh [2x]

'Til I see you again,
Oh oh oh oh oh oh oh oh oh oh oh
'Til I see you again, whoa
'Til I see you again,

Said goodbye turned around
And you were gone, gone, gone.

Review

You’d be forgiven if Carrie Underwood’s current hit left you a little underwhelmed. After the one-two murderoo of “Blown Away” and “Two Black Cadillacs,” the releases that announced Underwood’s ascension from superstar singer to potentially cool artist, the Narnia-inspired ”See You Again” may feel like a retreat back to simpler days. Actually, with its mechanical piano, bloated chorus production, and vague celestial imagery, it almost sounds like a descendant of “Inside Your Heaven,” Underwood’s sappy American Idol single. Uh oh!

But if you can accept that songs of this flavor will probably always be part of the Carrie Underwood experience, you may find that she’s improved the recipe a good bit over time.

It helps that “See You Again” is a decent composition on its own merits, with a stirring – if safe – theme of reconnecting with the loved ones we’ve lost or been separated from, plus some enjoyable – if gratuitous – “woah”s and “oh”s.

But the crucial difference is in the performance. For all the hosannas Underwood’s huge voice received early on, tracks like this demonstrate how much she’s still progressing both technically and interpretively. Early cuts like “Inside Your Heaven” or “Lessons Learned” were occasionally mired by reedy tones, robotic vibrato, or impassive phrasing; you had the sense of a singer finding her way around her instrument. Not so for the muscular, dynamic presence who drives this song. She’s gradually growing into her preordained destiny as a country-pop diva, confidently weaving runs and slurs into the fabric of the melody, and creating fun, little Carrie-isms like her quirky pronunciation of “again,” her whips into head-voice whenever she hits the title phrase, or her impassioned (if unintentional) belting of her own name. (“I will carry!”)

Does that sound like teasing? It’s praise. You can fall in love with a singer’s voice, but you stay in love because of the distinct ways they use it. It’s my opinion that Carrie Underwood still needs a new producer, someone who will encourage her more ambitious instincts and stop putting so much bland noise behind her, drowning out potential nuances. But I’m finally enjoying the Carrie we have at this moment in time, too. There’s something there.

Keith Urban - Little Bit Of Everything - Video, Lyrics and Review

Lyrics

I wish I could take a cab down to the creek
And hang a disco ball from an old oak tree
Smoke and drink once in a while
Somehow it'd be good for me
I want a cool chick that'll cook for me
But'll dance on the bar in her tan bare feet
And do what I want when I want and she'll do it with me

I don't need too much of nothing
I just wanna sing a little chill song
Get my groove on
Pour something strong
Down in my drink
Oh, I know
That I don't need a whole lot of anything
I just want a little bit of everything
Na na na na, na na na na
I just want a little bit of everything
Na na na na, na na na na

Now I don't need a garage full of cars
But I'll take a whole box of Cuban cigars
And I'll smoke 'em nice and slow
Like they were good for me
Don't need a ranch or a big piece of land
But I like to get a little bit of dirt on my hands
A big ole couch in a big ole room
Still feels lonely when it's just you
Yes it does

I don't need too much of nothing
I just wanna sing a little chill song
Get my groove on
Pour something strong
Down in my drink
Oh, I know
That I don't need a whole lot of anything
I just want a little bit of everything
Na na na na, na na na na

A little bit of everything
Under the sun
So, when I kick back basking in it
I'll be OK with what I've done
Still having fun

Cause I don't need too much of nothing
I just wanna sing a little chill song
Get my groove on
Pour something strong
Down in my drink
Oh, I know
That I don't need a whole lot of anything
I just want a little bit of everything
Na na na na, na na na na
I just want a little bit of everything
Na na na na, na na na na
I just want a little bit of everything
Yeah yea yea
Whoa, whoa, oh yeah

Review

Perhaps it should be no surprise that after five months spent judging ‘American Idol,’ Keith Urban has delivered his most pop-friendly single to date in ‘Little Bit of Everything.’ The talented singer and guitarist uses tricks in production that a less established singer would be skewered for. The result is a delightful summer jam that’s short on nutritional content.

The electronic effects during the introduction — and later, with a drum machine — stand out over Urban’s guitar work and the song’s message. But a sugar-coated chorus rights any wrongs.

“I don’t need too much of nothing / I just wanna sing a little chill song / Get my groove on, pour something strong / Down in my drink / Oh, I know that I don’t need a whole lot of anything / I just want a little bit of everything / Na na na na, na na na na,” Urban sings.

The verses are carefree… to a fault. All of the wrinkles of testosterone aren’t quite ironed out of the first verse, but the Warren Brothers and Kevin Rudolf do a better job of injecting some blue-collar, country boy sensibility into the second.

“Now I don’t need a garage full of cars / But I’ll take a whole box of Cuban cigars / And I’ll smoke ‘em nice and slow / Like they were good for me / Don’t need a ranch or a big piece of land / But I like to get a little bit of dirt on my hands / A big ole couch in a big ole room / Still feels lonely when it’s just you,” Urban sings before the chorus repeats.

‘Little Bit of Everything’ is a good fit for the superstar. He wraps his arms around the spirit of the song and doesn’t try to make it something bigger than a catchy, feel-good, open-road anthem. Lyrics that dig deeper would make his first track from an upcoming album more memorable, but that chorus will keep this song from ever becoming forgettable.

Jason Aldean - Night Train - Video, Lyrics and Review

Lyrics

I've been thinkin' bout you all day baby
waitin' on that sun to go down
whatcha say I pick you up after work
slide over, well slip out to the outskirts of town
got a blanket and a fifth of comfort
a little something to knock off the edge
it's supposed to get a little cool tonight
looks like I'm gonna have to hold you tight... yeah

[Chorus:]
Bout a mile off old mill road
in that spot nobody knows
park the truck and we take off running
hurry up, girl I hear it coming
got a moon and a billion stars
sound of steel and old box cars
the thought of you is driving me insane
come on baby lets go listen to the night train

yeah I hope its gonna be a long one
if were lucky its moving slow
wouldn't mind if it lasted all night
lying next to you on that hillside lets go

Bout a mile off old mill road
in that spot nobody knows
park the truck and we take off running
hurry up girl, I hear it coming
got a moon and a billion stars
sound of steel and old box cars
the thought of you is driving me insane
come on baby lets go listen to the night train

Let's go listen to the night train [x2]

Review 

Jason Aldean separated himself from the pack by ignoring conventional country boundaries, first with a duet with Kelly Clarkson on "Don't You Wanna Stay" and more aggressively with the country-rap "Dirt Road Anthem." His willingness to take risks, and his commitment to those risks, is surely playing into his success.

"A lot of creative types can live in the 'gray,' and Jason's very 'black and white' about things," says manager Chris Parr at Spalding Entertainment. "That's a really strong thing, to understand who you are as an artist, and you can extrapolate that to your music, to appearances, to whatever different requests you might get. He's like, 'if I'm gonna do it, we're doing it, we're all in,' which fits well, because [Spalding Entertainment president] Clarence [Spalding] and I are the same way, we don't like to stay in the 'maybe.'"

For his fifth album, "Night Train" (out Oct. 16), "maybe" duties went to Aldean's producer Michael Knock, who tells Billboard he went through about 5,400 songs for this record. "The job that I have now is making sure the quality of songs he picks from are where they need to be."

Theirs is a melding of '70s and '80s arena rock with contemporary country vocals and arrangements spiced with wailing guitar solos and the occasionally foray into rap and pop power ballads that fans have embraced and radio accepted. Beyond that, it's delivered with a rawness that comes from road-seasoned musicians in the studio and Aldean's way with a vocal that makes everything he sings believable to fans. Aldean is dead-set on his musical vision, and Knox is the tireless seeker of songs and the mad scientist in the studio that brings that vision to life."

"One thing I've never wanted is for my records to sound like every other male act that's on the radio," Aldean says. "I don't hear anybody's record and say, 'man, I want my record to sound like that.' I want my to record sound like me, what it sounds like when I'm on stage. The best way to do that is have my guys playing. The session players in Nashville are some of the best players in the world, but they don't always play what I want to hear."

In the end, the two ended up with a record that stays true to Aldean's sound and still manages to move that sound forward sonically, vocally and lyrically. "The big progression we made this time was more in the lyrical aspect than like 'Dirt Road Anthem' when we had never done anything like that, or when we did 'Don't You Wanna Stay,' he had never done that big pop power ballad before," says Knox. "Now it's more of a lyric thing, where he has something he wants to say and he's out there looking for it."

Sara Bareilles - Brave - Video, Lyrics and Review

Lyrics

You can be amazing
You can turn a phrase into a weapon or a drug
You can be the outcast
Or be the backlash of somebody’s lack of love
Or you can start speaking up
Nothing’s gonna hurt you the way that words do
When they settle ‘neath your skin
Kept on the inside and no sunlight
Sometimes a shadow wins
But I wonder what would happen if you

Say what you wanna say
And let the words fall out
Honestly I wanna see you be brave

With what you want to say
And let the words fall out
Honestly I wanna see you be brave

I just wanna see you
I just wanna see you
I just wanna see you
I wanna see you be brave

I just wanna see you
I just wanna see you
I just wanna see you
I wanna see you be brave

Everybody’s been there,
Everybody’s been stared down by the enemy
Fallen for the fear
And done some disappearing,
Bow down to the mighty
Don’t run, stop holding your tongue
Maybe there’s a way out of the cage where you live
Maybe one of these days you can let the light in
Show me how big your brave is

Say what you wanna say
And let the words fall out
Honestly I wanna see you be brave

With what you want to say
And let the words fall out
Honestly I wanna see you be brave

And since your history of silence
Won’t do you any good,
Did you think it would?
Let your words be anything but empty
Why don’t you tell them the truth?

Say what you wanna say
And let the words fall out
Honestly I wanna see you be brave

With what you want to say
And let the words fall out
Honestly I wanna see you be brave

I just wanna see you
I just wanna see you
I just wanna see you
I wanna see you be brave

I just wanna see you
I just wanna see you
I just wanna see you
See you be brave

I just wanna see you
I just wanna see you
I just wanna see you

I just wanna see you
I just wanna see you
I just wanna see you

Review

"Brave" is a song by American singer-songwriter Sara Bareilles, taken from her fourth studio album The Blessed Unrest (2013). The pop rock song was co-written by Bareilles and Jack Antonoff from the band Fun., as the singer was inspired from the struggles that a close friend dealt with in regards to coming out. Bareilles requested Mark Endert to produce it with the explicit goal of radio airplay. "Brave" was released worldwide through digital download on April 23, 2013 as the lead single from the album, through Epic Records.

"Brave" received positive reviews from music critics, with one writing that Bareilles channels singers like Fiona Apple and Florence Welch. Critics also compared pop singer Katy Perry's single "Roar" (2013) to the song, with fans posting mashups of the two songs online to "emphasize what some are calling plagiarism". "Brave" became Bareilles' third top 40 hit in the United States, peaking at number 31, while reaching number 59 in Canada and 26 in South Korea.

The accompanying music video was directed by actress Rashida Jones, and features Bareilles singing intertwined with clips of people dancing in various public places such as a shopping mall, a gym, a library and a bus stop. The singer also performed "Brave" in several live appearances, including at The Today Show and with singer Taylor Swift on her Red Tour at the Staples Center.

Florida Georgia Line - Round Here - Video, Lyrics and Review

Lyrics

Hammerin’ a nail
Stackin’ them bales
I’m dog tired by the 5 o’clock hour
But I’m ready to raise some hell
And Jesse’s gettin’ ready
I’m gassin’ up the Chevy
I’m gonna pick her up at 6
I hope she’s gonna wear the jeans with a tear
That her mama never fixed

[CHORUS]
The moon comes up and the sun goes down
We find a little spot on the edge of town
Twist off, sip a little, pass it around
Dance in the dust, turn the radio up
And that fireball whiskey whispers
Temptation in my ear
It’s a feelin’ alright Saturday night
And that’s how we do it ’round here
Yeah that’s how we do it ’round here

Mud on the grips
Wild cherry on her lips
I’ve been workin’ and tryin’ and flirtin and dyin’
For an all night kinda kiss
And country on the boombox
And candles on the toolbox
Doin’ everything right
Got the country boy charm
Turned all the way on tonight

[REPEAT CHORUS X2]

Yeah that’s how we do it ’round here
Yeah that’s how we do it ’round here

Review

"Round Here" is the title of a song recorded by American country music duo Florida Georgia Line. It was released in June 2013 as the third single from their album Here's to the Good Times. It was written by Rodney Clawson, Chris Tompkins, and Thomas Rhett.

The music video was directed by Peter Zavadil and premiered in June 2013. It was filmed in the duo's hometowns, Ormond Beach, Florida and Monroe, Georgia.

"Round Here" debuted at number 54 on the U.S. Billboard Country Airplay chart for the week of June 1, 2013. It debuted at number 36 on the U.S. Billboard Hot Country Songs chart for the week of December 22, 2012. It also debuted at number 89 on the U.S. Billboard Hot 100 and number 90 on the Canadian Hot 100 for the week of June 29, 2013.As of August 25, 2013 it sold 853,000 copies in the US alone.

P!nk - Just Give Me A Reason ft. Nate Ruess - Video, Review and Lyrics

Lyrics

Right from the start
You were a thief
You stole my heart
And I your willing victim
I let you see the parts of me
That weren't all that pretty
And with every touch you fixed them

Now you've been talking in your sleep, oh, oh
Things you never say to me, oh, oh
Tell me that you've had enough
Of our love, our love

Just give me a reason
Just a little bit's enough
Just a second we're not broken just bent
And we can learn to love again
It's in the stars
It's been written in the scars on our hearts
We're not broken just bent
And we can learn to love again

I'm sorry I don't understand
Where all of this is coming from
I thought that we were fine
(Oh, we had everything)
Your head is running wild again
My dear we still have everythin'
And it's all in your mind
(Yeah, but this is happenin')

You've been havin' real bad dreams, oh, oh
Used to lie so close to me, oh, oh
There's nothing more than empty sheets
Between our love, our love
Oh, our love, our love

Just give me a reason
Just a little bit's enough
Just a second we're not broken just bent
And we can learn to love again
I never stopped
You're still written in the scars on my heart
You're not broken just bent
And we can learn to love again

Our tear ducts can rust
I'll fix it for us
We're collecting dust
But our love's enough
You're holding it in
You're pouring a drink
No nothing is as bad as it seems
We'll come clean

Just give me a reason
Just a little bit's enough
Just a second we're not broken just bent
And we can learn to love again
It's in the stars
It's been written in the scars on our hearts
That we're not broken just bent
And we can learn to love again

Just give me a reason
Just a little bit's enough
Just a second we're not broken just bent
And we can learn to love again
It's in the stars
It's been written in the scars on our hearts
That we're not broken just bent
And we can learn to love again

Oh, we can learn to love again
Oh, we can learn to love again
Oh, oh, that we're not broken just bent
And we can learn to love again

Review

"Just Give Me a Reason" is a song written and recorded by American recording artist and songwriter Pink featuring fun.'s lead singer Nate Ruess. The song was chosen as the third single from Pink's sixth studio album, The Truth About Love (2012). Prior to its release, the song charted in many regions due to strong digital sales and a music video was filmed.

The song became an international success, topping charts in over 20 countries worldwide – including the Australian, American, Canadian, Irish, New Zealand, Italian, Dutch, Polish, and Scottish charts – as well as peaking within the top five in the Austria, Belgium, Czech Republic, France, Germany, Israel, Norway, Portugal, Sweden, Switzerland, and the United Kingdom. In the US, it became Pink's fourth number-one single on the Billboard Hot 100. It also became her third number-one on the Billboard Digital Songs chart after "So What" (2008) and "Fuckin' Perfect" (2011). "Just Give Me a Reason" has sold more than 4 million digital downloads in the United States.

Ariana Grande - The Way ft. Mac Miller - Video, Review and Lyrics

Lyrics

"The Way"
(feat. Mac Miller)

What we gotta do right here is go back, back to the top.

I love the way you make me feel
I love it, I love it
I love the way you make me feel
I love it, I love it

Say, I’m thinking ’bout her every second, every hour
Do my singing in the shower
Picking petals off the flowers like
Do she love me, do she love me not? (love me not)
[One version:] I ain’t a player, I just crush a lot (crush a lot)
[Another version:] I ain’t a player (I just play her, I just play her)

You give me that kind of something
Want it all the time, need it everyday
On a scale of one to ten I'm at a hundred
Never get enough, I can’t stay away

If you want it, I got it, I got it everyday
You can get whatever you need from me
Stay by your side, I’ll never leave you
And I ain’t going nowhere 'cause you’re a keeper

So don’t you worry, baby, you got me

I got a bad boy, I must admit it (hey)
You got my heart, don’t know how you did it (hey)
And I don’t care who sees it babe
I don’t wanna hide the way I feel when you're next to me (hey)

I love the way (I love the way you make me feel)
I love the way (I love it)
Baby, I love the way (I love the way you make me feel)
Ooh, I love the way (I love it)
The way you love me

Oh, it's so crazy you get my heart jumping
When you put your lips on mine
And honey it ain’t a question (q-question)
'Cause boy I know just what you like

So If you need it, I got it, I got it everyday
Be your lover, your friend, you’ll find it all in me
Stay by your side, I’ll never leave you
And I ain’t going nowhere 'cause you’re a keeper

So don’t you worry, baby, you got me

I got a bad boy, I must admit it (hey)
You got my heart, don’t know how you did it (hey)
And I don’t care who sees it babe
I don’t wanna hide the way I feel when you're next to me (hey)

I love the way (I love the way you make me feel)
I love the way (I love it)
Baby, I love the way (I love the way you make me feel)
Ooh, I love the way (I love it)
The way I love you

Uh, I make you feel so fine, make you feel so fine
I hope you hit me on my celly when I sneak in your mind
You’re a princess to the public, but a freak when it’s time
Said your bed be feeling lonely,
So you’re sleeping in mine.
Come here, watch a movie with me,
“American Beauty” or “Bruce Almighty” that's groovy,
Just come and move closer to me
I got some feelings for you,
I’m not gonna get bored of
But baby you’re an adventure
[One version:] So please let me come explore you
[Another version:] So let me come and explore you

So don’t you worry, baby you got me

I got a bad boy, I must admit it (hey)
You got my heart, don’t know how you did it (hey)
And I don’t care who sees it babe
I don’t wanna hide the way I feel when you're next to me (hey)

I love the way (I love the way you make me feel)
I love the way (I love it)
Baby, I love the way (I love the way you make me feel)
Ooh, I love the way (I love it)

I love the way (I love the way you make me feel)
I love the way (I love it)
Baby, I love the way (I love the way you make me feel)
Ooh, I love the way (I love it)
The way I love you

The way I love you
The way I love you, you, you, yeah, the way

I love the way you make me feel
I love it, I love it
I love the way you make me feel
I love it
The way I love you. 

Review


"The Way" is a song recorded by American singer Ariana Grande for her upcoming debut studio album, Yours Truly (2013). It was written by the song's producer Harmony Samuels, alongside Amber Streeter, Al Sherrod Lambert, Jordin Sparks, Brenda Russell and Mac Miller, who is also featured in the song. "The Way" was released on March 26, 2013 by Republic Records as the lead single from Yours Truly. The song interpolates the piano melody from Russell's "A Little Bit of Love" and lyrics from Big Pun's "Still Not a Player".
"The Way" became an unexpected success from the moment it was released. It was well received by critics, with some comparing Grande's vocals to those of Mariah Carey. Seven hours after its release on the iTunes Store, "The Way" topped its "Top Singles" chart. It debuted at number ten on the U.S. Billboard Hot 100, becoming Grande and Miller's first top ten success on the chart. This made Ariana the first top 10 arrival for a lead female artist making her first Hot 100 appearance since Yael Naim, who launched with "New Soul" back in 2008.

AWOLNATION - "Sail" Video, Lyrics and Review

Lyrics

Sail!

This is how I show my love
I made it in my mind because
I blame it on my A.D.D. baby

This is how an angel dies
I blame it on my own sick pride
Blame it on my A.D.D. baby

Sail!
Sail!
Sail!
Sail!
Sail!

Maybe I should cry for help
Maybe I should kill myself (myself)
Blame it on my A.D.D. baby

Maybe I'm a different breed
Maybe I'm not listening
So blame it on my A.D.D. baby

Sail!
Sail!
Sail!
Sail!
Sail!

La la la la la
La la la la la oh!
La la la la la,
La la la la la oh!
La la la la la,
La la la la la,

Sail!
Sail!
Sail!
Sail!
Sail!

Sail with me into the dark
Sail!
Sail with me into the dark
Sail!
Sail with me into the dark
Sail!
Sail with me
Sail!
Sail with me 

Review


The latest product of an ever evolving alternative rock radio, solo artist Aaron Bruno’s new project “AWOLNATION” has already found itself in heavy rotation with the single “Sail”. Utilizing a majorly electronic sound, Bruno favors heavy bass and synth over the breezy guitar melodies of his past work in band’s like “Under the Influence of Giants”. Sail is the kind of song that digs deep, and even with a basic chorus involving the repetition of the title, it refuses to leave the conscience after only one listen. Bruno’s voice is harsh and scruffy, but sounds perfectly fitting over a fuzzy and well produced backdrop. Song’s like “Sail” are an excellent example of how this genre can be defined by more than brooding vocals and catchy guitar hooks. While many artists have (un)sucessfully tried to move into a more electronic realm with the recent popularity of acts like MGMT and Passion Pit, it’s refreshing to see a balanced crossover such as this. Sail is a track that works, and will continue to be a stand out as long as radio stations can hold themselves back from overplaying it to oblivion.

Calvin Harris - "I Need Your Love" ft. Ellie Goulding Video, Review and Lyrics

Lyrics

"I Need Your Love"
(feat. Ellie Goulding)

I need your love
I need your time
When everything's wrong
You make it right
I feel so high
I come alive
I need to be free with you tonight
I need your love

I need your love

I take a deep breath every time I pass your door
I know you're there but I can't see you anymore
And that's the reason
You're in the dark
I've been a stranger ever since we fell apart
And I feel so helpless here
Watch my eyes are filled with fear
Tell me do you feel the same
Hold me in your arms again

I need your love
I need your time
When everything's wrong
You make it right
I feel so high
I come alive
I need to be free with you tonight
I need your love

I need your love

Now I'm dreaming, will I ever find you now?
I walk in circles but I'll never figure out
What I mean to you, do I belong?
I try to fight this but I know I'm not that strong
And I feel so helpless here
Watch my eyes are filled with fear
Tell me do you feel the same
Hold me in your arms again

I need your love
I need your time
When everything's wrong
You make it right
I feel so high
I come alive
I need to be free with you tonight
I need your love

I need your love

All the years
All the times
You have never been to blame
And now my eyes are open
And now my heart is closing
And all the tears
All the lies
All the waste
I've been trying to make a change
And now my eyes are open

I need your love
I need your time
When everything's wrong
You make it right
I feel so high
I come alive
I need to be free

Review

"I Need Your Love" is a song by Scottish producer and DJ Calvin Harris from his third studio album, 18 Months (2012). The song features English singer Ellie Goulding and was released on 12 April 2013 as the album's seventh single. The music video, which accompanies the song was released three days later on 15 April 2013. "I Need Your Love" is also included as a bonus track on Goulding's second studio album, Halcyon.

"I Need Your Love" received favourable reviews from critics. The song reached number four on the UK Singles Chart, making Harris the first artist in UK chart history to have eight top ten hits from one studio album. It also reached the top five in Australia, Austria, Finland and Sweden, and the top ten in Belgium, Ireland and Switzerland. As of August 2013, it has sold 395,462 copies in the UK.
The music video for "I Need Your Love" was directed by Emil Nava and premiered on 15 April 2013^. It shortens the track by omitting some of the intro music, starting immediately with Goulding's first lines.
The video starts with Goulding in bed, singing the song. She is joined by Harris who is depicted to be in a romantic relationship with her. The video shifts to amateur-like footage of Goulding and Harris acting in an affectionate manner towards each other in different locations such as a resort, in a car, and at a beach. Even one scene is footage of Ellie receiving her arrow tattoo on her right finger at a tattoo parlor with Harris. While the supposed "camcorder" is filming a scene at a beach where Goulding and Harris once were, it gets picked up by another individual who films himself skateboarding and later playing billiards. Shots of Goulding and Harris flash throughout the video, then it cuts back to the billiards scene, however the first individual is nowhere in sight, and instead a biker prepares the billiards table before seeing the camcorder and taking it, using it to film himself riding a motorcycle along a highway.

After this, the camcorder is picked up from the sidewalk by a third individual, who uses it to film a helicopter tour of Miami. Then it is given to another individual jet skiing until he seems to lose the camcorder.

Subsequently, the camcorder is found floating in water by a fifth individual who herself and another film each other on a boat cruise and later, in a nightclub, where Harris is performing as a DJ. Harris is then seen grinding with Goulding from afar. As the camera moves towards Harris, he reaches out and holds it, aiming the view at the nightclub's audience. Scenes of the music video flash back in rapid succession, leading to the ending of the video with Harris setting the camera down and getting with Goulding in the same bedroom from the beginning.

The music video for "I Need Your Love" was nominated for Best Collaboration and Best Song of the Summer at the 2013 MTV Video Music Awards.