Gwen Stefani ft. Akon – The Sweet Escape

Song: The Sweet Escape
Artist: Gwen Stefani ft. Akon
Album: The Sweet Escape (2006)

In “The Sweet Escape,” Gwen Stefani apologizes for hurting her lover while in pursuit of a perfect life.

A tambourine and a keyboard playing a descending scale open the track. Akon “woo-hoo, yee hoos” four times in the intro when the rest of the instruments kick in. In the first verse, Stefani wants to live an ideal life. However, she confesses to hurting her lover in the process. She’d done him wrong as she was obsessed with finding this lifestyle where every aspect was flawless.

“If I could escape, I would but first of all let me say
I must apologize for acting stank, and treating you this way“

Stefani admits to having shut Akon out of her life for a while in the first pre-chorus. She ignored him and only focused on her own happiness. However, he has become depressed due to her actions, and in turn she has come to be a mess herself. She accuses him of not supporting her endeavors; had he done so, she would have been more involved with him and they wouldn’t have grown so distant.

“’Cause I’ve been acting like sour milk all on the floor
It’s your fault you didn’t shut the refrigerator
Maybe that’s the reason I’ve been acting so cold“

In the chorus, Stefani longs for reconciliation. She is willing to be a better girlfriend to him, and asks him whether he still wants her. She apologizes for neglecting him and states that she only wanted a better lifestyle for them both. However, it hasn’t ended yet and they could patch things up. She wonders if he feels the same way. Stefani realizes that working things out would be the ideal life she’s been looking for – not one depicted in a glossy blockbuster chick-flick.

Akon does his “woo hoo” thing another four times. In between, he agrees to Stefani’s sentiments. He tells her they can patch things up.

“If I could escape and recreate a place that’s my own world
And I could be your favorite girl forever, perfectly together
Tell me boy, now wouldn’t that be sweet?
If I could be sweet / I know I’ve been a real bad girl (I’ll try to change)
I didn’t mean for you to get hurt whatsoever
We can make it better / Tell me boy, Now wouldn’t that be sweet?
Sweet escape, sweet escape“

“I wanna get away (get away) to our sweet escape (sweet escape)“

In the second verse, Stefani is desperate. She realizes her shortcomings, and is confused as to where to go from the ditch she’s dug herself. She wants to move forward, and asks her lover to help her out. Their relationship was rather superficial before, and she notes that if they want this to be authentic, they need to find compromise and support each other.

“You melt me down, I’m at my lowest boiling point
Come help me out, I need to get me out of this joint
Come on, let’s bounce / Counting on you to turn me around
Instead of clowning around, let’s look for some common ground“

Their lives are currently hectic with all the confusion. She’s been depressed and powerless, and expected her lover to rejuvenate her. However, he’s been detached from her lately, and Stefani realizes just how badly she’s hurt him. She tells him she understands, but that she wants this to last. This ideal life she envisions includes him in it. “So please,” she asks him. “Stay.”

“So baby, times are getting a little crazy
I’ve been getting a little lazy, waiting on you to come save me
I can see that you’re angry by the way the you treat me
Hopefully you don’t leave me; want to take you with me“

The chorus is repeated, as is Akon’s part. The first pre-chorus is repeated as the bridge, and is followed by the chorus once more. Cue the “Woo hoo, yee hoos” and a fade out to finish the single.

Gwen Stefani wanted the perfect life for her and her boyfriend – a fairytale wherein the troubles of the world didn’t matter, only their happiness. She was naive when she entered this relationship, not knowing that this fantasy was unrealistic. Over time, she has grown and come to realize this. However, she still wants that perfection. She acknowledges her flaws, and will strive to be a better person so that her boyfriend will know she truly wants him for the long run.

The instrumentation is a clever blend of different genres. A tinge of disco is heard in the verses, a hint of ska in the intro and the pre-choruses, some classic doo-wop in the choruses, some Motown flavor dashed throughout, all covered by a thick sheen of new wave pop music. The intro evokes a mildly depressing mood amidst the up beat music, and the following melodies are quite catchy. The contrasting moods in the verses and choruses are all relevant to the lyrics. It feels like a perfect fairytale, which becomes ironic when the vocals speak of flaws and reality.

Stefani’s delivery varies throughout the song. In the earlier half of the song, her vocals are infantile. By the second verse wherein she grows weary of the situation, her tone is calmed down. She is heartfelt when she apologizes, but shows that she acknowledges her wrongdoings. Her vocal performance adds character to the song, making her persona three-dimensional.

The only major flaw in this song is Akon. His yodeling is irrelevant to the rest of the track, and it doesn’t contribute anything. Rather, it shatters the sweetness of the choruses. In addition, it’s simply cloying and cringe-worthy. Also, he doesn’t have enough parts in the song to truly make an impact. The song should simply be Gwen Stefani’s, as opposed to Gwen Stefani ft. Akon.

The songwriting makes use of clever metaphors (“…You didn’t shut the refrigerator / Maybe that’s the reason I’ve been acting so cold”) that make sense and describe a very magical scenery. Stefani described this song as one leading her back to No Doubt, and I honestly see it in its entire production. Add some electric guitars in the mix (and take away Akon), and it would be the long-lost track from Tragic Kingdom.

In theme, this song is similar to Fergie’s “Big Girls Don’t Cry.” Both are confessional songs wherein the singers are infantile in their apologies. Stefani makes the childish delivery work, however, because it is relevant to the context of the song. She starts out childish, but she matures. She also has the image to pull it off: most of her previous songs sounded playful and innocent (despite all the “S” words in “Hollaback Girl”), that it doesn’t sound off when she does something like this. This is where Fergie fails. If there truly is some form of rivalry between Fergie and Gwen musically, Ms. Ferguson (and/or her producers) needs to take notes from Team Stefani.

If you can ignore Akon, “The Sweet Escape” is a true audio confectionery delight. Like an expensive chocolate, it is sugary on the outside, but lusciously bittersweet in its core.

Fergie – Big Girls Don’t Cry (Personal)

Song: Big Girls Don’t Cry (Personal)
Artist: Fergie
Album: The Duchess (2006)

In “Big Girls Don’t Cry,” Fergie asks her boyfriend to leave so she may find herself.

Gentle strums of an acoustic guitar opens the single, over which Fergie ad libs before singing her verses. She contemplates on the last few moments she spent with her lover. She could smell his aftershave on her fingers, as she’d caressed his cheek earlier that morning. At this moment, he’s heading back to North Dakota. She takes a breath of bittersweet relief. She told him she wanted some space, and he gave her just that.

“The smell of your skin lingers on me now
You’re probably on your flight back to your home town
I need some shelter of my own protection baby
To be with myself and center, clarity
Peace, Serenity“

In the chorus, Fergie recalls what she’d told him a few days ago when she asked for them to take a break. She told him he was a fantastic man, but that she had internal problems she needed to solve in order to live happily; she didn’t know herself as much as she thought. She’ll ache to see him walk out the door, and will sob herself to sleep most nights thinking of him. However, she knows the end of their romance would be the best for the both of them. Staying together in spite of her troubles would be unfair for him. Her thoughts focus back to her own frame of mind, and she assures herself that she’ll be strong.

“I hope you know, I hope you know
That this has nothing to do with you
It’s personal, myself and I
We’ve got some straightenin’ out to do
And I’m gonna miss you like a child misses their blanket
But I’ve got to get a move on with my life
It’s time to be a big girl now
And big girls don’t cry, don’t cry, don’t cry“

Fergie must undergo the procedure of growing up alone. She needs to learn from the mistakes she makes, as opposed to her boyfriend helping her out even if she messes up along the way. It’s a new experience for her and it’s scarier than ever, but she will still go for it. She then laments on the relationship they had, how perfect it was, until she discovered her flaws. She’d have hurt him eventually if they stuck together.

“The path that I’m walking
I must go alone
I must take the baby steps ’til I’m full grown, full grown
Fairytales don’t always have a happy ending, do they?
And I foresee the dark ahead if I stay“

The chorus is repeated.

In the bridge, Fergie assures her boyfriend that while their romance has ended for the time being, they will remain the best of friends. They’ll maintain a youthful relationship wherein their affection will be shown in the most innocent of gestures. After she’s grown, they can pick up where they left off and enjoy a mutually fruitful life together. However, until that time comes, she’ll peck him on the cheek goodnight before any sexual advances can be made. She just needs some space, she repeats to him.

“Like the little school mates in the school yard
We’ll play jacks and Uno cards
I’ll be your best friend and you’ll be my Valentine
Yes you can hold my hand if you want to
‘Cause I want to hold yours too
We’ll be playmates and lovers and share our secret worlds
But it’s time for me to go home
It’s getting late, dark outside
I need to be with myself and center, clarity
Peace, Serenity“

The chorus is repeated. Fergie ad libs once more to close the single, the acoustic guitar whispering underneath her.

Fergie takes some time out from her life with a perfect man. She feels she may not be able to completely reciprocate, and has to figure out if she wants to spend her life with him. He, being a gentleman, grants her request.

The instrumentation is quite smooth. The guitars do their job and give the song the relieved but lonely tone it requires. In the bridge, the added keyboards are a nice tough to sound infantile amidst the very adult guitars. However, the rest of the instrumentation is pristine due to its overproduction, thereby taking away from the emotion. The music becomes rather generic, when it should feel raw to match the content of the lyrics. A real drum set should be used instead of the loops, and possibly an organ in place of the strings. The music could have also upped the background singers in the choruses.

Fergie’s vocals in the verses are soft and contemplative, which fit the melancholic tone of the song. However, in the choruses, she lets the power flow which dominate the yet somber music. In doing so, she comes off as domineering and seems to be ushering the man out the door rather than wiping a tear out of her eyes as she watches him drive to the airport. She’s capable of emoting invulnerability, but needs to work on it.

The song itself has a nice concept, but the finished product feels so incomplete in the lyrics department. The song tends to contradict itself quite a lot in that Fergie wishes to be an adult but uses childish phrases and metaphors to allude to her desired state. She sounds like the grown woman that she is, and hearing this voice refer to its bearer as a “big girl” who’ll miss her boyfriend “like a child misses her blanket” is as awkward and out of place as that line is in the chorus. Cutesy doesn’t bode well with Fergie. The lyrics would best suit a younger female singer (such as Jordan McCoy, who originally bought this song from Fergie but was unable to record it due to The Duchess sneaking it into her own album regardless. McCoy had a better grasp on the context than Fergie has, and it suited the girl.) who is capable of expressing the fear of leaving home and going off to college or to a bigger city to start her life. Also, her boyfriend seems like an excellent man. Wouldn’t it be smarter to keep a hold of a good friend as you venture out to find yourself? Why would she let such a rare find go?

My biggest qualm with this song is that Fergie sings this. Fergie does have a strong and powerful singing voice which is to be admired – I took notice of this when she first joined the Black Eyed Peas in “Where is the Love?” Being that she co-wrote the song, I give her props for helping concoct something personal. However, the main reason Fergie does not convince me with the song is largely due to the public persona she has created to complement her debut album. Her three singles prior to this – “London Bridge,” “Fergalicious,” and “Glamorous” – all have her being the commercially-sold woman who tunelessly belts out egotistical lyrics in all seriousness, from songs that cannot be perceived as anything but novelty. To hear her project her self-indulgence and then take the blame for a faulty relationship in a ‘serious’ confessional song is very uncharacteristic of her, thus making it less believable. Of course, I’d much rather this more human Fergie than plastic “London Bridge,” “Glamorous” Fergie. However, the unfortunate fact that it precedes her former singles makes it harder for the listener to take it seriously.

In the hands of the perfect self-aware singer, “Big Girls Don’t Cry” could have been magic. At Fergie’s, the song suffers due to her persona. It could do with a reworked cover from a female rock-pop or soul singer.

Trivia: I don’t know about you, but the “child misses his blanket” part reminded me of Linus from Peanuts. Did you know Fergie supplied the voice for Sally Brown in her younger days? Certainly makes that line a wee more relevant!

Sean Kingston – Beautiful Girls

Song: Beautiful Girls
Artist: Sean Kingston
Album: Sean Kingston (2007)

In “Beautiful Girls,” Sean Kingston avoids attractive women in fear of getting hurt by one again.

The single opens with producer J.R. Rotem introducing both himself and Sean Kingston. The chorus then starts, sung by Kingston, over a recognizable sample of Ben E. King’s “Stand By Me.” Kingston meets an attractive woman who shows interest in him. He turns her down, stating that she’s very beautiful. She has a great charm about her, and he knows he’s going to fall completely for her. However, he knows he’s not good enough for her, and that one day she will see that. When that time comes, she’ll find another man and he’ll be in agony.

“You’re way too beautiful girl
That’s why it’ll never work
You’ll have me suicidal, suicidal
When you say it’s over
Damn all these beautiful girls
They only wanna do you dirt
They’ll have you suicidal, suicidal
When they say it’s over“

In the first verse, Kingston reminisces on a previous romance. They met at a park and spent some nights together. He felt close to her with each passing day. He told his friends he’d found his soul mate. They warned him that he was too young to be thinking rationally about settling down with someone, and that it was an unrealistic point of view. However, they still stuck together. Although as if on cue, she left him when she discovered his feelings for her.

“See it started at the park, used to chill after dark
Oh when you took my heart, that’s when we fell apart
‘Cause we both thought that love lasts forever
They say we’re too young to get ourselves sprung
Oh we didn’t care, we made it very clear
And they also said that we couldn’t last together“

In the pre-chorus, he continues to say that the girl is complicated. Her individual personality confuses Kingston so much. She liked to be the one to end relationships, simply because it made her feel superior. It was too much for the guy to take.

“See it’s very define, you’re one of a kind
But you’re much on my mind, you walk to get decline
Oh Lord, my baby is driving me crazy“

The chorus is repeated.

In the second verse, Kingston remembers his former flame. Eight years ago, he was rather fond of cinema. (Random trivia!) He was jailed at nine years old, which I suppose was due to shoplifting a video game. Behind bars, he wondered if he’d ever see his girlfriend again. She waited for him however, until he was released. She then led him to a new town where they were to start a new life together. They were happy for a while, until he discovered that something wasn’t right with the her.

“It was back in ’99, watching movies all the time
Oh when I went away for doing my first crime
And I never thought, that we was gonna see each other
And then I came out, mami move me down south
Oh I with my girl who I thought was my world
It came out to be that she wasn’t the girl for me“
The pre-chorus and chorus are repeated.

In the bridge, Kingston says he and his girl are currently quarreling, and it hurts him to do so. She started becoming unfaithful to him, and he’d caught her in the act. He’s going insane once again, and says it isn’t good for his health. Here, the music dies down so it’s simply a cappella.

“Now we are fussing and now we are fighting
Please tell me why, I’m feeling slighted
And I don’t know, how to make it better
You’re dating other guys, you’re telling me lies
Oh I can’t believe what I’m seeing with my eyes
I’m losing my mind, and I don’t think it’s clever“

The music swells dramatically, just drums and strings fusing together to bring forth a climax. Here, Sean Kingston sings the chorus a final time.

Kingston doesn’t sell the song as it should be intended. He suffers from the “JoJo Syndrome,” as I call it, for being too immature to handle the complexity of the song’s story. His inexperiences comes through in his voice, and it sounds more like he’s singing the song for the sake of recording rather than conveying the heartbreak a supposed “beautiful girl” should’ve given him. Vocally, Kingston seems to be relying on his accent rather than finding a unique singing style to distinguish himself among other young R&B/Pop acts. Without his accent, most people never would guess this was supposed to be a reggae inspired track. Hopefully this is something he can change.

Musically, I give “Beautiful Girls” props for its creativity. When most artists sample a popular song, they tend to hesitate reworking the instrumentation that their product becomes a watered down copy of the original. In turn, the new songs are made simply by the samples. Here, “Stand By Me” is reworked in a way that ADDS TO the Kingston track rather than MAKES IT. It makes it more dramatic, and the added instruments and beats give it a unique flare that separates it from the original. The final chorus is brilliant, with the dramatic effect given to emphasize a supposed heartache. Shame about the lyrics. The melody is also rather nice.

Lyrically, the song is flawed. In addition to Kingston’s delivery, the song states that superficiality is a predominant factor in relationships, and that women are out to get men. It’s either that, or Kingston would’ve been vowing to only date ugly girls. It can be insulting, and presents a wrong message about romance. With a proper rewrite and more emotion from Sean (or rather, a different singer), “Beautiful Girls” could transform from an immature condemnation of girls (a la “Eww, cooties!”) to a serious lament about a lost love. The story telling itself was rather sloppy. The first verse reminisces on the two breaking up, while the second verse recounts the time they first met. Meanwhile, the bridge is in present tense stating the arguments between Kingston and Beautiful Girl #1. In the middle, he condemns the pretty things. It gets confusing.

“Beautiful Girls” could’ve birthed something new, but instead was suicidal, suicidal.

P!nk – U + Ur Hand

Song: U + Ur Hand
Artist: P!nk
Album: I’m Not Dead (2006)

In “U + Ur Hand,” P!nk turns down a guy who hits on her at a bar.

A tinny drum beat and an electric guitar riff opens the single, with P!nk throwing in an “uh” or several over the tune. She and her friends visit a bar on a Friday night, to unwind after a long week of hard work. She’s dressed herself up nicely just for the occasion. However, she just knows there are some guys hanging out in there, displaying their male chauvinism. They’re there to look at women with big breasts, seeing which ones they could manage to take home for the night. It happens all the time, Pink sighs. She sits at a counter and does a round of tequila shots with her buddies to kick off the night. At that time, a man approaches her, feeling rather frisky. He flirts with her, asking her birth sign, and suddenly grazes her thigh.

“Check it out, going out on the late night
Looking tight, feeling nice / It’s a cock fight
I can tell I just know that it’s going down tonight
At the door we don’t wait cause we know them
At the bar six shots just beginning
That’s when dickhead put his hands on me, but you see``

In the chorus, P!nk retorts. The previous innocent bar scene turns into an edgy soap opera with the added guitars. She throws his hand off of her, pissed. However, rather than merely brushing him off, she explains that she’s here to have fun for herself. She’ll defend her right to relax, and will get physical if he insists she come with him to a motel room. She says her response has nothing to do with her mood; she was rather content before he interrupted her conversation with her friends. Did he really think he had a shot with her? She tells him that the next time he’d offer to buy her a drink, to do her a favor and just give her the money so she could get something out of the unwanted intrusion. She tells him that she won’t be there to pleasure him, so he must find ways to, uh, do it himself tonight.

“I’m not here for your entertainment
You don’t really want to mess with me tonight
Just stop and take a second
I was fine before you walked into my life
‘Cause you know it’s over before it began
Keep your drink, just give me the money
It’s just you and your hand tonight“

In the second verse, P!nk’s loosened up a little after several drinks. She hears one of her favorite songs on the jukebox and gets up to dance alone, something to give her some satisfaction. However, the frisky guy returns to her, figuring maybe she’d have changed her mind while tipsy. She shoots him a deadly “does it look like I’ve changed my mind?” glare, and pushes him away when he tries to grope her again. She tells him straightforwardly that if he’s worried about the reputation his dudes would give him, then she says to tell them she gave him her number, and that they’d meet up later. She tells him to do whatever he wants, ’cause she really, really wants nothing to do with him. It’s her own personal time, and you have no right interrupting it for your own interests. Capische? Capische. Thank you, don’t come again.

“Midnight I’m drunk, I don’t give a fuck
Wanna dance by myself, guess you’re outta luck
Don’t touch back up, I’m not the one – buh-bye!
Listen up it’s just not happening
You can say what you want to your boyfriends
Just let me have my fun tonight, a’ight?“

The chorus is repeated, followed by some more “Uh uhs” from the intro. She then says she’ll simplify it for him, as he’s still confused and persisting.

In the bridge, she says she understands that it’s a routine for him and his pals to act manly. Of course, for them, being manly means objectifying women to be nothing more than sexual objects they’d have for the night and never have anything to do with again come sunrise. And tonight’s game, as usual, is betting on women like horses. Who can take the next girl that walks in home? She says women have more pride than that. If they’re looking pretty, they’re doing it to feel pretty for themselves and nobody else. So for the last time, take that Pina Colada elsewhere.

“Break, break / Break it down
In the corner with your boys you bet up five bucks
To get at the girl that just walked in but she thinks you suck
We didn’t get all dressed up just for you to see
So quit spilling your drinks on me, yeah“

She smirks at him. Regardless of what he tells his friends, they both know he won’t score tonight.

“You know who you are. High fivin’, talkin shit
But you’re going home alone, aren’t cha?“

The chorus is repeated twice to end the song.

“U + Ur Hand” is a powerful anthem for female empowerment, said in the simplest way possible. In this song, P!nk not only says that there are women out there who actually have pride and won’t degrade herself to fit men’s indulgent fantasies. She also exposes this chauvinism men have based on their sex, and how women are nothing but objects to them. She makes a statement about how ironic it is that they think their nightly sexual encounters with women empowers them, when in fact they continue to degrade themselves. Yet, they continue to do this and ruin the fun for the girls who just want to have a good night out. The allusion to masturbation is actually metaphoric; perhaps with nobody to bed, they’d get some time alone to do some major thinking.

P!nk is pissed! Her vocals are very cynical, as is obvious in the snarls and growls throughout the track. She genuinely doesn’t want anybody to mess with her fun time, and it shows. If somebody even attempts to do that, she will not only send him back to his table, but she’ll give him a metaphorical kick in the nuts to remember her by.

The instrumentation complements P!nks delivery. It sets the scenery. In the verses, it’s a simple drum and guitar instrumentation that easily represents the ambience of the bar. However, the guitars go up full blast in the choruses, which changes the setting to the angry conversation she has with her admirer. The instrumentation is brilliant as it is just as narrative as P!nk is. The music is an interesting, unique piece that recalls The Strokes’ new-wave style of rock in the choruses, but segues into an effective dance song in the verses.

“U + Ur Hand” squishes the mosquito rather than just shoo it away. It is a welcome response to objectification.

Fergie – Glamorous

Song: Glamorous
Artist: Fergie ft. Ludacris
Album: The Duchess (2006)

In “Glamorous,” Fergie proposes a toast on behalf of her being famous.

The single commences with Ludacris’ asking of the listeners if they have prepared themselves to hear a mind-blowingly fantastic track. Because this is unlike anything you’ve heard before! That is, unless you’re Gwen Stefani. Mild beats and dreamy synths follow as the rapper goes on to start an apartheid between the audience, stating that only people financially equipped are acceptable to join them in jamming out to this tune. He then tells his wealthy comrades to repeat the particular requirement. Fergie finally joins in to spell the word “glamorous,” which coincidentally is also the title of the song.

“If you ain’t got no money, take yo broke ass home
You say: “If you ain’t got no money take yo broke ass home”
G-L-A-M-O-R-O-U-S, yeah, G-L-A-M-O-R-O-U-S“

Fergie brings forth the chorus instantly, in which she proclaims that her lifestyle is gorgeous. If she is unable to hire her own jet liner, she’ll travel abroad in first class on a commercial airline – never economy. She orders a glass of Chandon to keep her occupied during the flight. This is simply what she does, she boasts. However, regardless of how well things are going for her, she won’t ever change as a person. Nope, she’s still Stacy Ferguson even with all the jewelry she sports. She repeats the chorus another time before she lets them verses flow.

“We flyin’ first class up in the sky
Poppin’ champagne / Livin’ my life in the fast lane
I wont change by the glamorous,
Oh the flossy, flossy“

Fergie busts out the verses in sing-song rap over the same chill synths and timid beats. She says that her jewelry doesn’t take away from her identity. They’re irrelevant, as is the lifestyle she leads which comes fully equipped with personal drivers and bodyguards. She is constantly featured on magazines like Elle and Vogue, has appeared in three Blockbuster films to date, and is a regular in all the hottest clubs. Despite her status as a celebrity, she admits she has flaws and cannot conform to society’s image of celebrities as immaculate beings. Yes, she does snack on caviar at home, but she’d have her driver take her down to some local fast food joints for a burger and fries. That’s how she keeps it real, despite all her financial gain. She’d still talk about the days when she was less fortunate with family members and close friends.

“Wear them gold and diamonds rings
All them things don’t mean a thing
Chaperons and limousines / Shopping for expensive things
I be on the movie screens / Magazines and boogie scenes
I’m not clean, I’m not pristine / I’m no queen, I’m no machine
I still go to Taco Bell / Drive through, raw as hell
I don’t care, I’m still real / No matter how many records I sell
After the show or after the Grammies
I like to go cool out with the family
Sittin’ / Reminiscin’ on days when I had a Mustang“

The chorus is repeated.

The mic is handed to Ludacris for the second verse, where he does his thing. He raps about being the person to further fulfill Fergie’s fantasies. He commends her for being worthy of all this success, but wants to get closer to her. He informs her that he’s pretty well endowed in the wallet, and will give her anything she wants. They’ll fly out to Italy for the weekend if they get bored of L.A. He’ll buy her Prada shoes if she’s worn out her closet of Chanels. Oh Luda, what would Josh Duhamel say of all this? He repeats his phrase from earlier, meaning that if you got this far into the song but didn’t have over $10.00 in your pockets, to switch the radio stations or skip to the next track on the playlist. Fergie spells “glamorous” again, perfectly.

“I’m talking Champagne wi-ee-shes, caviar dre-ee-eams
You deserve nothing but all the finer thi-ee-ings
Now this whole world has no clue what to do with us
I’ve got enough money in the bank for the two of us
Brother gotta keep enough lettuce to support your shoe fetish
Lifestyles so rich and famous, Robin Leach will get jealous
Half a million for the stones / Taking trips from here to Rome
So If you ain’t got no money take yo’broke ass home
G-L-A-M-O-R-O-U-S, yeah, G-L-A-M-O-R-O-U-S“

The chorus repeats itself once more.

She states that she’s got enough on her mind to worry about, yet her management continues to tell her where her next appearance should be, and for what company she should be spokesperson of. She’s rich now, and has the fans to thank for buying both her debut album and the two the Black Eyed Peas have released since she joined them. Seriously, she thanks the fans. She looks back on where she started out, just a young girl on Kids Inc. wanting to be a big rock star one day. It’s been a good long decade and some years since then, and she’s learned that it took some honest hard work to reach the top. It came as no surprise to her when she discovered it, though, because her father informed her of this to prepare herself. Knowing what to expect has helped her overcome them.

“I got problems up to here / I’ve got people in my ear
Telling me these crazy things that I don’t want to know
I’ve got money in the bank / And I’d really like to thank
All the fans, I’d like to thank / Thank you really though
‘Cause I remember yesterday when I dreamt about the days
When I’d rock on MTV, that be really dope
Damn, It’s been a long road / And the industry is cold
I’m glad my daddy tell me so / He let his daughter know“

In the bridge, she stresses the fact that her father gave her good advice. In the background, Ludacris and his posse keep telling the poor folks to stop listening to this song! It’s almost done – go to the bathroom real quick or to the fridge to get a snack, anything until the track is over! They just don’t want you listening to it!

“(If you ain’t got no money, take your broke ass home)
My daddy told me so
(I said, If you ain’t got no money, take your broke ass home)
He let his daughter know
(If you ain’t got no money, take your broke ass home)
My daddy told me so
(If you ain’t got no money, take your broke ass home)
He let his daughter know“

The single fades out from there, thereby concluding it.

Fergie is proud of her accomplishments here. While it is an admirable thing to be content with what you’ve achieved, she both focuses on the wrong reasons to congratulate herself. She gets the privileges of stardom and feels superior to other people because of it – it doesn’t sound like she’s making music for the fun of it at all. (Ludacris’ chant only stresses this.) It’s as though the “glamorous” lifestyle is what she wanted, not the ability to let people hear her voice and her music. She confuses wealth with power and independence. This leads her to think that success is judged by how much materials you obtain rather than how much contentment you get from your profession.

The instrumentation is nice and smooth on its own. It sounds like a fantastic mix of new wave pop and ambient music, with some techno blips here and there. However, given the lyrics and the delivery of the two artists, the music sounds cold and isolated. It is an audio equivalent to the cheerleader in high school who’d put on her make up and sneer at the people who weren’t affiliated with her clique or the football team. It was originally handed to Gwen Stefani for a remix of her song, “Luxurious.” Stefani turned it down, and the producers were right in looking for someone else to make use of the beats. However, Fergie shouldn’t have been the one.

Fergie’s delivery is self-indulgent. She sings smoothly throughout to match the music, passionate. However, the lyrics are entirely about herself, and to sing passionately about her own tale makes her seem inspired and captivated by it. This thereby shows her conceit, proud of herself for the mere benefits of fame. The background singers in the chorus “ooh” and “ahh” with admiration, making vanity seem like a positive trait.

Ludacris’ verse add to Fergie’s vanity. He portrays her as some sort of goddess, and believes he’d obtain her affection by buying her things. Not only does this dampen Fergie’s image as a human being, but it also promotes an unhealthy look at love and relationships. In an already superficial world, these kinds of messages will add nothing positive. Except to Fergie and Ludacris’ bank accounts, from which they buy their champagnes, first class tickets, jewelry, and Taco Bell dinners.

Another problem with the song is in how it takes itself seriously. While bragging isn’t a positive aspect, at least in songs like “My Humps,” it was used as campy fun and made no attempt to show materialism in a positive light. Without the rest of the Black Eyed Peas, Fergie jumps at the chance to advertise materialism like it’s Coca Cola.

Fergie’s “Glamorous” is anything but, and a painful listen.

Amy Winehouse – Rehab

Song: Rehab
Artist: Amy Winehouse
Album: Back to Black (2007)

In “Rehab,” Amy Winehouse refuses to seek professional counseling due to a broken heart.

The single opens immediately with its famous chorus, accompanied solely by a 50s-sounding drum track and background singers “oohing” and “aahing” behind Winehouse. In it, she proclaims that her management have attempted to send the singer to a rehabilitation center, to which she refused. She acknowledges that she’s had her moments of being too intoxicated wherein she’s done herself some damage. However, she always returns to sobriety, and that she will continue to work progressively as long as they keep out of her personal life. She has better things to do than enter such facilities, as life is too short. Her own father even told her she didn’t need rehabilitation; he’d stated before that it couldn’t hurt to at least try it, but Winehouse wouldn’t accept that advice back then either.

“They tried to make me go to rehab, but I said “no, no, no”
Yes, I’ve been black, but when I come back you’ll know, know, know
I ain’t got the time, and if my daddy thinks I’m fine
He’s tried to make me go to rehab , but I won’t go, go, go“

The horns kick in, establishing a jazzy, “big band” atmosphere. In the first verse, Winehouse confesses she’d rather stay in her living room in just her pajamas, listening to her old Ray Charles and Donny Hathaway records. She says music can heal her pain much quicker and more effectively than they could at the center, and that it knows her better personally than any counselors ever could. She says that while she’s not the brightest girl, she knows alcohol can’t solve her problems.

“I’d rather be at home with Ray / I ain’t got seventy days
‘Cause there’s nothing / There’s nothing you can teach me
That I can’t learn from Mr. Hathaway
I didn’t get a lot in class / But I know it don’t come in a shot glass“

The chorus is repeated.

In the second verse, she gave into peer pressure and attended a meeting despite her fierce opposition. They asked her why she’s picked up her drinking habits. She responds that she’d been on the verge of making terrible mistakes that would most likely sabotage a perfect relationship she has with someone whom she cares for and loves. She’d started depending on a few beers and tequila shots each agonizing night to ensure she lives through them. Her counselor proposed to her that it might be a psychological problem. Winehouse sneers at him. If she were going insane, then so were the other people there – they’re in the same boat she is. Within those ten minutes of her first ever rehabilitation seminar, she gets up from her seat and walks out the door, never to return.

“The man said, “Why do you think you here?” / I said, “I got no idea.
I’m gonna, I’m gonna lose my baby / So I always keep a bottle near.”
He said, “I just think you’re depressed.” / Yes me, yeah baby, and the rest“

The chorus returns once again.

In the third verse, Winehouse laments that she doesn’t want to depend on alcohol to serve her as a remedy. She just needs someone to listen to her problems and console her. It’s a simple problem people are romanticizing into a Shakespearean drama; the issue could be solved instantly, but people refuse to see that. She doesn’t want to check herself into a center, knowing others will make a fuss about it. They’ll think she’s gone mentally insane and may think less of her as a person. She’ll stop drinking eventually – when her pain subsides. Until then, let her pour herself a glass of Chardonnay.

“I don’t ever wanna drink again / I just, ooh, I just need a friend
I’m not gonna spend ten weeks / Have everyone think I’m on the med
It’s not just my pride / It’s just till these tears have dried“

The chorus is repeated once to end the single.

“Rehab” is a refreshing listen, with much thanks due to the creative “big band” instrumentation and a relevant topic which hasn’t been brought up before in songs. However, the single would be nothing without Winehouse – her honest, narrative delivery makes the song work.

The music is crafted so nonchalantly, that in addition to evoking a 50s girl group sound reminiscent to the Shangri-Las’ and the Ronettes’, it also resurrects the soul and passion songs of that era had. (In fact, it utilizes the famous drum pattern which originated in the Ronettes’ hit, “Be My Baby.”) The throwback to older times serves a purpose too. In the context of “Rehab,” Winehouse mentions many issues in her past: her break up, the intervention, her counselor – it highlights the fact that all those have already happened.

Winehouse makes great use of her deep, smooth vocals. While the lyrics could easily turn the song into a three-and-a-half-minute “I’m not a child anymore” whine-fest in the wrong hands, (Britney and Lindsay, please never attempt to cover this), the London native handles it realistically and maturely. She is a human being in the song whose relationship has turned rocky – the thought of losing her loved one has anguished her, and with nobody around to help ease her pain, she’d do it herself with alcohol. She is diplomatic as she narrates the story – it feels as though she is engaging in a personal conversation with you. However, in certain sensitive areas of the song, she lets some emotion flow through. (This is evident especially in areas such as “I’m gonna lose my baby,” and “I just need a friend.”)

The mesh of the vocals and music here create a cynical atmosphere. The tempo gives the listener an impression that Winehouse is skeptical of what all these people are trying to get her to do. She questions their intentions. However, certain touches (such as the bells within the chorus) subtly reminds us that this is a touchy subject with her.

“Rehab” is a refreshing work of art with an intriguing subject matter. It is surely a future classic.

Rihanna – Umbrella

Song: Umbrella
Artist(s): Rihanna ft. Jay-Z
Album: Good Girl Gone Bad (2007)

In “Umbrella,” Rihanna promises a friend her utmost loyalty.

The bustling drums open the single, over which Jay-Z commences his rapping verse by calling the Bajan singer by name, and stating the album title which spawned the song. Techno-inspired strings join in as the rapper boasts of his successful lifestyle and Rihanna’s talents. He says he’s worked hard to gain the money and respect he has, and they will see him through the tougher times. He compliments Rihanna, stating that she makes him happy.

“No clouds in my storms / Let it rain, I hydroplane into fame
Comin’ down with the Dow Jones
When the clouds come we gone, we Rocafella
She fly higher than weather, and she rocks it better
You know me, an anticipation for precipitation
Stacks chips for the rainy day / Jay, rain man is back
With li’l Miss Sunshine / Rihanna, where you at?“

Rihanna chimes in on the first verse, wherein she tells Jay-Z that he is important to her. No matter what stories people may make up concerning them both, she will still cherish him. She knows that when the going gets rough, the material things won’t matter. He’ll need a shoulder to cry on to help him through the mess, and she comforts him by letting him know she can lend hers.

“You have my heart, and we’ll never be worlds apart
Maybe in magazines, but you’ll still be my star
Baby, cause in the dark, you can’t see shiny cars
That’s when you need me there, with you I’ll always share
Because“

 

In the chorus, Rihanna proclaims that the good times will roll back soon, and that they will enjoy them in each other’s company. She promised him a loyal, honest friendship that will never cease. Currently, life isn’t treating him nicely. Right now, he needs her most. She offers to be the shelter he needs to get away from it all, if only for a while. Together, they’ll work out his problems.

“When the sun shines, we’ll shine together
Told you I’ll be here forever /Said I’ll always be a friend
Took an oath, I’mma stick it out to the end
Now that it’s raining more than ever / Know that we still have each other
You can stand under my umbrella, you can stand under my umbrella“

The serious tone of the chorus switches into a more playful one towards its end as Rihanna repeats “Ellas” and “Ehs” in sing-song, in efforts to cheer Jay-Z up.

“Ella, ella; Eh, eh, eh / Under my umbrella
Ella, ella; Eh, eh, eh / Under my umbrella
Ella, ella; Eh, eh, eh / Under my umbrella
Ella, ella; Eh, eh, eh“

Rihanna consoles him in the second verse, reminding him that he’s already an established part of her life, and that nothing materialistic will ever destroy their relationship. She knows that destiny has something in store for everybody; while some people get lucky, most get their share of ups and downs. If his given fate is a difficult process to go through, she’ll lend him her strength to go on.

“These fancy things, will never come in between
You’re part of my entity, here for infinity
When the war has took it’s part / When the world has dealt it’s cards
If the hand is hard, together we’ll mend your heart“

The chorus is repeated, together with the rosy chants of “Ellas” and “Ehs.”

In the bridge, the aggressive drums slow down, leaving the synths to accompany Rihanna’s voice as she assures Jay-Z that he is no burden to her, no matter how heavy his personal dilemmas are. The tears start swelling in his eyes; she pats him on the back and tells him they’ll work things out. He can depend on her.

“You can run into my arms / It’s okay, don’t be alarmed
Come into me (There’s no distance in between our love)
So go on and let the rain pour, I’ll be all you need and more
Because“

The chorus is repeated once more, followed by some extra lines sung. In the final chorus, the bass shifts into minor chords, setting a darker tone while the synths glisten optimistically. Rihanna ends the single by consoling Jay-Z.

“It’s raining / Ooh, baby, it’s raining / Baby, come into me, come into me
It’s raining / Ooh, baby, it’s raining / It’s pouring rain, it’s pouring rain
Come into me, come into me / It’s pouring rain, it’s pouring rain
Come into me, come into me“

“Umbrella” is a beautiful track with a positive message, inarguably needed in this day and age with all the negativity surrounding us. The song plays out like an audio poem; it is more abstract in its musical element wherein two individual tones are set but still connected, something refreshing to hear amidst other tunes in the current contemporary R&B/Hip Hop scene.

The instrumentation is genius. The heavy synths and pounding drums are symbolic for the hardships Rihanna and Jay-Z currently face. An electric guitar joins in at the choruses, giving the music a kick to get the point across.

Rihanna’s delivery completely contrasts the mood of the music. While the music is depressing and dark, her voice is confident, hopeful, and reassuring. In most songs, differing tones often lead to a train-wreck – here, it works. It’s easy to imagine Rihanna and Jay-Z calmly standing amidst a busy environment, which is exactly what the “It’s raining heavily, but you can stand under my umbrella” metaphor alludes to.

Jay-Z’s rapping, however, is unnecessary. If Rihanna’s side of the story claims Jay-Z to be a man weakened by ongoing events, Jay-Z claims that he’ll be okay during tough times shows him in an arrogant light. Yes, Jay-Z’s verse went first, but the difference between both deliveries is that Rihanna’s sounds honest while Jay-Z’s ego seeps through his rapping like milk from a broken carton.

Aside from one minor flaw, “Umbrella” is a perfect single with excellent production and songwriting to project a message much needed in society today.

Once upon a time…

Hello readers, and welcome to “Pop Paleontology!”

Now, I can sense the curiousity here. I know you’re wondering what this particular blog will cover, and to the disappointment of dinosaur fans worldwide, this will have little to do with bringing our buddy T-Rex back into the mainstream. Rather, this blog will focus on pop music.

Inspired by an author at another blogging site, Dusk411 @ JoeUser.com, I will attempt to dissect famous songs of today and days before. I believe there are many things that have been said through mainstream music, some messages more obvious than others, and I am devoting this blog to exploring just that. Was “Livin’ on a Prayer” a story about a couple struggling in a difficult society, or a subtle but effective political commentary? Was “Complicated” a girl’s lament over a man with an identity crisis, or simply a display of teenage non-conformist rebellion? Was “My Humps” actually a subtle analysis of gender roles in the world today, or was it just about Stacy Ferguson’s twins up north and down south? Stay tuned to find out!