This place is prison

The music video for McFly's new single, "Party Girl," is out.

The cynical part of me says that if you're already facing accusations of bandwagon jumping with your new more electro sound, throwing vampires in your video isn't exactly going to fend off those claims.

Maybe more importantly, it makes no sense, probably due to the fact that it seems to be random clips from the online movie they've made (as opposed to, say, a music video length presentation of a plot), intercut with performance footage. It also literally features a stripper pole. Then again, they've hardly been making great videos as of late anyway.

The song is still solid but not fantastic (why couldn't there have been a stronger chorus?). Nothing's really going to knock the album off the top spot on my "most anticipated albums of the year" list, though.

In other news, the original b-sides for the single include "Hotel On A Hill" and "Sunny Side Of The Street," two songs from the set that leaked earlier this year.

If looks could kill, then we all would be doomed

When journalists made comparisons between the new McFly single and Lady Gaga, I thought it was just a bad description based on the Dallas Austin-produced "Party Girl" having some electro influences in it.

Party Girl (Clip) by poppostergirl

(Full credit and many thanks for that recording goes to here.)

I was wrong. Boy, those opening "ohh"s could have come straight out of a Lady Gaga song, couldn't they? Of course, after that, the song takes a different direction.

Apparently the full thing is getting played on British radio tonight, but as far as premature evaluations based on fifty-four second clips go, I'm pretty excited.

OK, that's an understatement: the verse and and bridge are both FANTASTIC, hard electro-pop with a great topline. They're shout-it-from-the-rooftops amazing. Though I have nowhere near the right persona to pull off an expression like this, they are in fact, as reported, "rocking." My only concern is that I hope there's more to the chorus than we're hearing, a second half that is irresistably catchy and as aggressive as the music from those earlier sections; so far, it's the least impressive part of the song. Still, we hear so little that I'm fairly hopeful that there's more to the chorus or that it makes sense in its complete form.

After being very underwhelmed by the single from their greatest hits and all the singles except "Falling In Love" from Radio:ACTIVE, it's such a relief to be excited and enthusiastic about a lead single from them again.

"Party Girl" is out September 6 (why so far out?), with the album probably out in November or so and preceded by a second single, "Shine A Light."

In her own world

British band McFly's new single, "Party Girl," comes out September 6, but we should be hearing it on British radio soon. Produced by Dallas Austin, it's been described by one set of people as having more of an electro feel than their earlier work and as being comparable to Enrique Iglesias's "I Like It" or as "Taio, Tinchy, Enrique and 3OH!3 all rolled into one." There will be more news forthcoming as journalists attend listening parties for three of the group's new songs, but we do know (from earlier news) that the group worked with Taio Cruz in addition to Dallas for their album, which is out in October or so.

Fans were divided over some demos that leaked a while back, some thinking they were too much of a departure from McFly's usual sound, but I really liked some of them, including the ones that sounded like they were actually from this fifth album's recording sessions. Sure, there are some electro effects, but they didn't really feel like that much of a departure and, more importantly, they were good.

There's also been "news"--blah blah blah logos blah blah blah famous movie poster designer etc.--about a fan community the group is setting up (the reason for the photo at left), but none of it is really all that exciting yet. Just give us some of the song to listen to, eh, boys?

To make you smile

We interrupt this Swedish pop binge to bring you the following news: Tom Fletcher...



...is looking mighty fine lately.

(On an unrelated note, Danny's voice is still, for lack of a better phrase, just what I want it to be.)

Please, pop gods and goddesses, let me love the next McFly album.

Anyway, further evidence for the prosecution:



To swerve back into music appreciation, the supposed raison d'etre for this blog, here they are performing one of my favorite, favorite songs by them, "Falling In Love."



The overlapping, in round part in the middle 8? In the studio version, one of the most swoon-worthy pop moments I know (here, they delegate some of the singing to the crowd, so the effect isn't quite the same).

Find a new way of falling in love

In news of the weird, British band McFly have been working on music for their new album with Dallas Austin. It's not that I don't have a lot of respect for Dallas--he's made some of the decade's best songs, no question--but it's a match-up I never envisioned. Hopefully he can refine the boys' sound into something that connects with me more than Radio:ACTIVE generally did. If you've read this blog since its beginning, you'll know how much I love McFly and think they don't get anything near the respect they deserve, but I never fell for the majority of their last album. I'm not sure whether the melodies weren't there for me or if the production wasn't my style, but even just thinking about it now gives me that fingers-down-a-chalkboard feeling of on-edge agitation, which is never a reaction I thought I'd have or wanted to have to the band's music.

(Picture from Dallas Austin's blog.)

As incongruous a team as Dallas and McFly seem to make, maybe a bit of spit and polish from the man behind Pink's "Don't Let Me Get Me" and "Just Like A Pill" and Anastacia's "Left Outside Alone" is just what the group needs. It's no secret that I'd prefer them to return to the sound of "Transylvania," "Friday Night," and "We Are The Young" from Motion In The Ocean, but if that's not on the cards, I'll settle for music I love, plain and simple.

Let's take a moment for a Dallas Austin song which, although probably not sounding anything like his material with McFly, is perfect.



In other McFly news, the song I class as their best work since the best songs on Motion In The Ocean, the simple, beautiful ballad "Falling In Love," is apparently at #33 in radio play at Spain's biggest station. To steal from fans of a certain underrated Minogue, $ucce$$!

In even stranger news, they also wrote with Taio Cruz. I really like Taio, but once again, I can't say I ever saw this collaboration coming. Then again, it's so easy to think of Taio as "Break Your Heart," Tinchy Stryder-collaborating Taio that you forget he also wrote Will Young's "Your Game" (though even the former Taio is one that, as I said, I enjoy).

#99 McFly, "Lies"

And I'm just one drink away
And I'm back in Wonderland like it was yesterday
And I hope you get to hear me say,
"Who gets the last
Who gets the last
Who gets the last laugh now?"

Oh, McFly. One of my first true musical loves, at least post-my music renaissance. The group I've respected and loved, championed, cheered for for years. Why is it, then, that I've not been as swept away by their latest material as much as I want to be?

Let me just try to focus on the great things about this single that enabled it to make this list, much as it's difficult to ignore the voice in the back of my head pointing out that the group that probably would have topped my 2006 singles list had a I done it and that went top 20 and probably should have gone higher in last year's list is just barely making the countdown this year. First off, how on Earth are they able to afford videos like this post-apocalyptic one when they're now (by choice) on their own record label? Secondly, though, "Lies" is a dramatic horns- and string-featuring pop-rock attack. Early on in the single's life, I read something from the group about how the single was probably lyrically their darkest one yet and did a mental double-take--really? I mean, sure, it was complaining about a bad girlfriend and her lies, but that's hardly unusual; I'd only ever noted the lyrics for the clever reference to their second album they contain. Skeptical, I went back and listened to the song again, actually paying proper attention to all the lyrics this time...and couldn't believe what I'd missed out on all the previous times. Midway through the song, the references to weapons and destruction switch from metaphors to reality, a reality that ends up with a girl dead in a car accident while the narrator gloats. The situation then gets portrayed more as fantasy or what will happen than as what's actually happened, but it really is darker than I was expecting. If anything, though, that only enhanced my appreciation for a song that was already fun enough, even if tinged in musical darkness, to get plays from me. Bold, though not quite as bold as McFly can get even while making great songs ("Transylvania," which is a bit similar to "Lies," is both bolder and more fun than it), "Lies" is another fine addition to the McFly canon. I just hope their next album will contain more songs to love--for a group with songwriters and musicians as excellent as those of McFly, good is just simply not good enough.

Find it on: Radio:ACTIVE

Always better late than never

I could've fallen in love
I wish I'd fallen in love...

"Falling In Love" just might be my favorite straightforward ballad McFly have ever done...and that's saying something. There is, to be a fair, a little bit of the slight jaunt of "All About You" or "Obviously" in the music of the verses, but it's no more than part of the McFly style or, if you're feeling particularly over-the-top, a method of bringing about a brief flash of wistful nostalgia to accompany the song's lyrics of regret.

Regret and momentary hope, to be more accurate. Life in the aftermath of the one that got away is common enough songwriting fodder, and yet somehow something the band have done here has made the subject feel worthy of revisiting.

It's a song that's fully filled in, never left feeling sparse or acoustic, and an example of excellent songwriting--their sense of melody and orchestration has never been better--and yet fairly simple for all that, with no showing off. A little guitar strumming, just enough to keep the song moving forward, a little percussion, a few piano runs here and there, but it's all meshed together into a gentle backdrop verging on the swoonworthy, especially when the backing vocals come in. Danny and Tom's singing is spot-on, expressive but never overdone, and their combined middle 8, that moment where the sound drops and Tom sings a backing chant "sick of waiting, I can't take it, gotta tell ya" while Danny finally stirs up the courage to pick up the phone and then moves into the backing vocal-style "ohh"s of before, is nothing less than music at its most sadness-extinguishing-hope enchanting, both lighters-in-the-air and tragic. It's not a song that should be overanalyzed (much as my impulse is to do so): just a well-done pop song.

I've gone on the record at various times in the past as worried that McFly have turned or are going to turn into a band no different than, say, the Plain White T's--it's the "Friday Night"s, the "Transylvania"s, the "We Are The Young"s, the "Sorry's Not Good Enough"s that get me the most excited--but when they give us a song this perfect, that little voice telling me that they really are some of the most underrated songwriters going begins whispering in my ear again.

To buy McFly's fourth studio album, Radio:ACTIVE, go here (physical) or here (digital).

Next up: maybe that American singer...but probably not.

Sweet dreams tonight

Not only is today (technically tomorrow or Monday, but they're out digitally now due to time differences) a fairly brilliant day for British singles releases, it just so happens that the brilliance of three of those releases is enhanced by the dance routines in their music videos.

Same Difference's debut single "We R One," a bit like High School Musical crossed with Melodifestivalen, has been out for quite some time now, long enough to know that as a song it stands easily on its own two feet. The video, with its reaching-for-the-sky-and-jumping-inclusive dance routine, makes it just that little bit more exciting, though.



Even though I estimate there's a 55/45 chance Paul will come out of his vacation to post this video, I still feel obligated to post it for him: their performance from tonight's X Factor of said single. Confetti! That dance routine!



It's a relief, though, to know now for sure that George Sampson's sample-riffic "Get Up On The Dance Floor" survives without the (great) video accompanying it. It does benefit from being danced along with, though. I think possibly my favorite thing about the song is the way it teases you with the Yazoo sample before doing something else and then eventually coming back to it, using it in a really great way. Conveniently, the sample's return ties in with the best part of the video--starting with George breaking through a wall--if you're watching it. It's nice to know you don't have to be to enjoy the song, though.



Speaking of short but great songs with great videos, Frankmusik's "3 Little Words" (the Stuart Price-produced version) is out now, too. Sadly, EP track "Better Off As Two" (listen to a clip of it on PopJustice--it's the second one) doesn't seem to be available digitally, which is really tempting me to buy the physical EP (hence why I haven't purchased any of the tracks besides the main single yet). I've already praised "3 Little Words" and its video (as is true of both of the songs before this one, actually), but let me just say this again: brilliant exciting electronic pop with a video that only makes you love the song more.



Moving away from dance routines (sadly), Take That's new single "Greatest Day" is out as well. It comes accompanied by the great (that word's the motif of the day, apparently) b-side "Sleepwalking" (as well as album track "Here," which is apparently on some single version) and a performance on X Factor as well (with credit to Chart Rigger).



Still love the song, still love the cheesy video which perfectly captures the song's aura for me.



There's "Do Ya," that McFly single out, too, accompanied by "Stay With Me," a cover. I know I just posted this video, but for completion's sake, here it is again.



I'll still having trouble rallying up as much enthusiasm for this album as I want to be feeling (though there are some songs I love), but hopefully one day it'll just click.

I'm makin' a list of things that I miss whenever we're far apart

Is this really the video for the new New Kids on The Block single?



The mind boggles.


(Actually, I'm thinking now it must be some sort of Germany-only release tied in with a German movie. "Dirty Dancing" was one of my instant favorites on the album, though, so at least the song is great.)

Speaking of mind-boggling music videos, the video for McFly's "Do Ya" makes me pretty sure they are crazy. I just wish that craziness came through in this latest album more often.



I think Chart Blog put it best: "A nice Christmas video you say, Tom? Something to remind people of the spirit of giving, what with it being a charity single and all? Sounds brilliant. Oh, Dougie ordered a set of extras dressed as zombies, so they're all outside. You do know about that, right?"

Out of our minds

Man...I'm finally listening to McFly right now--boy, was I wrong! And I'm only the second track so far...

Sigh.

(And that's a happy, contented sigh. A thrilled, swoony sigh. I'm falling in love all over again.)

Edit: hmm. Let's see...

Every time you leave me wanting more

Things I'm enjoying at the moment:

Annie's "Bad Times." I've been waiting with anticipation for this album just for this song alone. Well, that's not quite right--I've been hoping there would be other great songs too, but it's never a sure thing with me and Annie: sometimes that voice of hers--yes, I know it's beyond cliché to mention this now, but it's still true--is just too slight for me. Luckily, "Bad Times" is a song where that either doesn't matter or her voice works; right now I'd lean towards the latter. "Divine" is the word I used for the preview, and it's the word I'd use now--my favorite song ever from her, I think. Luscious.

Seal's "The Right Life." Not exactly a new development, since the non-US/UK radioplay of this song had alerted me to how much I enjoyed it months ago, but "The Right Life" has been receiving significant play from me recently. I've been waking up early recently, and there's something about wandering down to the basement kitchen, with almost all the lights in the halls and rooms off, that suits this song perfectly, if you're in that kind of pretend-pensive mood. Now, if only I had a lake to look out over.

P!nk's "So What." P!nk's just on a roll with these past few singles, isn't she? And actually, when I tried to describe "So What" to someone, I ended up using both "Who Knew" and "U + Ur Hand" as reference points--some of the attitude and music of "U + Ur Hand" but with a chorus that, in sound and structure and soul, reminded me more of "Who Knew"--because, despite all her best attempts at schoolyard taunting, it's a song that's obviously not purely triumphant, not really fine after this breakup. True fact: "Who Knew" is the song in the world that probably draws the strongest emotional reaction from me, so I'm glad to see P!nk using her voice and her musical style for something with both more musical and emotional substance than "Stupid Girls." Perfect combo.

Eric Prydz, "Pjanoo." Catchy instrumental dance.

The chorus of Lady GaGa's "Poker Face." Love "Just Dance" (with the exception of one section), album's not thrilling. Actually, the song works pretty well overall, but it's the chorus that really sells it.

Sonny Jim's "Can't Stop Movin'." Yes, I've had this for ages, but lovely summer weather has brought about another round of intense playing of it.

Actually hearing September's "Cry For You" on real, non-dance U.S. radio! Love. I think I've screamed louder each time I've heard it.

Actually hearing Van She in the United States--multiple times! Admittedly while out shopping and not on the radio, but hey, I'll take it. Need to buy that album...

David Archuleta's "Crush." So totally getting its own post at some point, but will it surprise anyone that I love it?

CC Martini, "Double Dutch." Not new. Still adore it, thanks to Mike.

Cyndi Lauper, "Into The Nightlife." Also not new (nor is my love for it), but I'm still loving this.

Keri Hilson, "Energy." Another not new song that I've long loved but have never, I think, mentioned on here. It keeps getting compared to "No Air"--for my money, it's better.

The Saturdays, "Up!" Girl group pop. Not yet in the brilliant category or anything, but I like it. When can we finally get Red Blooded Women's "Colour Me Dirty"?

Bananarama, "Your Love Is Like A Drug." Also not new, but that doesn't make it any less fantastic. May also inspire its own post.

Things that aren't necessarily in the full-on "love" zone yet but are maybe worth a mention:

John Legend's "Green Light." I don't know that this is a song that'll ever get much play from me itself, but boy, does it feel like it would suit its purpose--and I like in that context.

Andermay's "Uh Oh Oh Oh" (in English or Spanish). Cute! Not as good as "Entre tú y yo," but then, not much in the world is.

Agnes's "On And On." I'm kind of surprised I don't feel compelled to put this in that first category, but I'm not entirely sold on the title line in the song itself musically. Could possibly be a big favorite in time, and it's a great direction for a singer I'm glad to have back. Speaking of Idol contestants and their new direction, Anna Abreu of my much-loved "Ivory Tower" and "End Of Love" is back with the pop-dance song "Vinegar." I admire the ambition and enjoy the song (I think), but it's not quite "international-quality" for me yet.

Things I'm not enjoying:

The latest McFly album. It's not that it's awful--it's just that I've not listened to it in full yet. What a change from the days of yore, eh? They've just failed to capture my attention with the music so far.

Things I know of but am not commenting on/can't common on:

South Africa's most recent Idol winner Jody Williams just released her debut album. I'm most interested in the seeming "Don't Stop The Music"-inspired "Wind It" from the clips.

Magnus Carlsson released a cover of "I Was Born This Way."

David Tavaré finally released his debut album. More on this later (though that doesn't mean you all need to listen to it).

Singing "we don't care"

Hmm...I don't know what to think of the new McFly single, "One For The Radio." I mean, I approve of backing vocals that sound like a group of people shouting in unison in theory, but if you're going to make a song that talks about how much people like your songs even if they won't admit it, shouldn't it be a fantastic song with a melody that inspires everyone to sing along even without relying on that fallback? And maybe instrumental parts that have you air-guitaring or -drumming along? The word "anthemic" was tossed around afterwards, but there were loads of songs on the last (non-greatest hits) album that sounded more anthemic than that one. I get that they're going for a sort of crunchier guitar sound now, but I wonder if this particular song might have worked better with slightly different production; a lighter feel suiting a lighter melody...well, I've only heard it once, and I missed the beginning as well, so I'll have to hear it begin before I really know. I should've recorded it--it's already fading from my mind, and 3/4 of a listen is far from enough to properly judge a song. Still, it'll be on Radio 1's site soon enough, in the archives for Switch with Nick Grimshaw. Right now, though, it seemed potentially fine or maybe OKish, but not exciting.

#16 McFly, "Transylvania"

Who-ooo is your lover?
I couldn't tell
When hell freezes over,
That's when I'll tell
Who-ooo is your lover?
I couldn't tell,
When will this stop?

What better way to return to the Internet world than with my beloved McFly? Wait, don't answer that--despite the fact that I really thought this song, if anything, would win over some critics, "Transylvania" never really brought McFly the major success, commercial or critical, that I hoped it would, though at least the single reached #1, more than can be said for poor "Sorry's Not Good Enough"/"Friday Night," which peaked at #3 (which would seem more than respectable, but there are loads of people out there who rejoice every time one of their singles doesn't enter at #1; plus, "Friday Night" was probably my favorite single of 2006). I'm still kind of peeved with the handling of the singles from McFly's third album, Motion In The Ocean. Whether or not "Please Please Me" should have been the lead single is debatable (I like the song and found it reassuring at a time when McFly's remake of "5 Colours In Her Hair" for their American album had me worried), but at the very least, the decision to make "Transylvania" a b-side for the second single seems ill-advised, considering it's obviously single material and would go on to be a single. Add to that the fact that "Star Girl" was baffingly chosen as the second single--hardly the way to win new fans, boys, or even necessarily keep the adoration of the old ones--and maybe any future singles from the band started off with a disadvantage. "Transylvania" was then downgraded from single to one side of a double A side single, which I'm still not totally pleased with though I am glad we got their cover of Jellyfish's "Baby's Coming Back;" if it had to be a double A side with something, though, I wouldn't loved the album's epic lead track, "We Are The Young" to be that other side so it could get some of the exposure it so desperately deserves (with maybe "Baby's Coming Back" as a b-side).

I still don't know that all that really explains the world's failure to appreciate "Transylvania," though. To me, it's one of the boldest, bravest songs I've ever heard, haunted house and Victorian and Queen-esque pop-rock that packs in a bunch of choruses, all of them catchy, and ultimately combines and overlaps them to create one of the most fun and colorful listening experiences of the year. I once read someone say that it was McFly's "Biology," and I think that's a good comparison. In my eyes, it should have made obvious to everyone that the boys of McFly have incredible talent and are capable of making pop of the highest order and of real sophistication, should've won them countless more fans and more respect as well. Ultimately, though, I guess I just have to say that, much as I wanted it to, "Transylvania" didn't connect with most of the public in a meaningful way. I hope that doesn't scare the boys off from making more songs like this in the future--songs like this are about as exciting as music gets.

(It really should be higher on this list, but since I first heard it back in October of 2006, I think it suffers a little bit of a disadvantage. I really do see this song as a classic, though.)

Transylvania

Find it on: Motion In The Ocean

Sorry's not good enough

I can't believe I'm about to say this, but I have to. I truly hope other people disagree with me (well, the majority of people will disagree because they don't think this group has ever been any good to begin with), but I am very worried about McFly after hearing their latest material. Preface: for as long as I've cared about music, they've been one of my favorite bands, only ever rivaled by the Click Five, and, after the Click Five's second album and McFly's third album, McFly were very clearly in the lead. In short, I love them. But I'm very worried I may not in the future.

Part of the problem may be that, though conventional McFly wisdom is that Wonderland is their best album, if they had to make a sequel to anything, I wanted a sequel to Motion In The Ocean, not Wonderland--or at least to the best songs on Motion In The Ocean ("Friday Night," "Transylvania," "We Are The Young," "Sorry's Not Good Enough," "Please Please," and maybe you could throw "Little Joanna" and their cover of "Don't Stop Me Now," maybe "Bubblewrap," into the mix; they fit with that style and are pretty good...and though I sort of see why "Don't Wake Me Up" is being called a sequel to "Little Joanna," it's nowhere near as good--it doesn't have any of the playfulness). I don't think that's really it, though--Wonderland's songs are much more enjoyable to listen to than the new tracks on their greatest hits. Where is the fun, the color? Gone.

They're losing their pop. This isn't really what I meant--see comments for more.

I was initially worried by "The Heart Never Lies," but as a one-off, it could work. I just didn't want that to be an indication of their new direction. The style they adopted for their cover of "Umbrella" worried me even more--I didn't even recognize them to begin with. And now neither of the other two tracks on their greatest hits or new Dougie b-side "Ignorance" has that spark for me. "The Way You Make Me Feel" and "Don't Wake Me Up" aren't bad songs, but compared to, say, Motion In The Ocean album track "We Are The Young," they just seem pedestrian. Dull. Mild flashes of interesting ideas covered up in pleasantness but nothing that I'd want to hear a whole album of.

I got worried when they revamped "5 Colours In Her Hair" for the U.S. market, but "Just My Luck" and "Please Please" assuaged my fears. I really hope something similar happens this time. I thought the new greatest hits songs might do that. But they haven't--they've made it worse.

McFly, you are on notice.


Prove me wrong.

Edit to say that it's worth checking out the comments for this post!

Another year over, but we're still together

Time for a McFly news break.

New single "The Heart Never Lies" (which you can read a lovely write-up of over at I'm Always Right) will come in several versions, but the most important thing is that we'll be getting 2 b-sides: their cover of Rihanna's "Umbrella" (my first thought was "What?!? No...is that a good match? And it'll probably get them burned by everyone," but then I realized that Scott Simons's cover of it has at least made me possibly open to the idea of covers of it) and the Dougie-penned and -featuring "Ignorance." Given Dougie's involvement in "Transylvania" and "Silence Is A Scary Sound," that could be something to really look forward to.

The video for "The Heart Never Lies" just recently debuted. This song, if there is any justice, should really win them some crossover appeal. Of course, if there was any justice, "Transylvania" would have been a big hit (as "Friday Night" should have been) or at least silenced all those "they're so generic" arguments, so I'm not counting on anything. Honestly, though, as long as you don't hate guitars, give it a listen, or at least listen to part of it.



As Paul mentioned, McFly are also participating in that whole Radio 1 covers album; they've done a version of the Jam's "A Town Called Malice," which you can listen to on YouTube here.

Finally, at the same time that I like them for their music, I also affirm my right to appreciate if any of them is looking particularly fine. Normally, I'm all about the spiky popstar hair, yeah? And the almost-shaved look is one I strongly disapprove of?


Well, there are exceptions to every rule.

It's been two years and a half; in July we'll make it three

Preface: if you want a decent (though still obviously radio rip) quality of "The Heart Never Lies," visit this blog (thanks!) Now, it is true that McFly are my favorite band, but it's not because they're my favorite band that I love their songs, but rather because I love their songs that they're my favorite band (which probably sounds like an incredibly pointless statement, but it's not when you consider the number of conversations I've read that use statements like "all the screaming teenie girls will go buy the single no matter what they put out" and then not only believe that but that hold that up as if that's all the proof you need that they're worthless; hate them if you don't like their music, but for people, especially other pop fans, to use the "teenie girls" statement is so ridiculous [and usually hypocritical] to me). The very first time I heard this single--or rather, a piece of it--I wasn't sure about it, but I think that's because I was expecting--well, the songs on Motion in the Ocean had a certain sparkle in their eye--they felt colorful, for lack of a better expression. McFly had even said they're moving back towards the Wonderland sound, so I shouldn't have had that sort of expectation, but I did. "The Heart Never Lies" is less glamorous than something like "We Are The Young" or "Transylvania," but it's still a great solid (and emotional, just not in a treacly way) single from them; just less flashy. Now, on to today's post.

The thought first crept into my mind when I heard it on the radio about a month ago, but it wasn't until a week ago that I fully realized and accepted it:

I love Sean Kingston's second single. "Me Love" is an ace pop song, no qualifications needed. It's cute, it's catchy, it's happy (despite lyrics like "why'd you have to go away from all me love?" and yet another prominent reference to death--this time he's drowning in the ocean), it's got finger snaps and synths and repeated use of nonsense syllables and one syllable words--it's a great big unashamed pop song and I love it. Resisting the urge to sing along gets more difficult with each listen. I wish it didn't end so abruptly, but otherwise, I have no complaints. I swear, you will probably never hear a rock song (it samples/interpolates Led Zeppelin's "D'yer Mak'er," apparently--that was through research, folks, not me knowing the song, but it's seriously worth a few seconds listening to the original just to compare to "Me Love") turned into a more joyful summery semi-ridiculous pop song ever.

Me Love

(Advice: turn it up loud! And sing along if you can. It sounds so much better that way. And yes, I realize that if Sean's sixteen, he started dating this girl when he was fourteen or younger--kids today get started so early, don't they?)

To buy Sean Kingston's debut album Sean Kingston, go here (physical) or here (digital).

Next up: maybe something on the Belanova album.

The sound of love

(Mini-update below)

Super super quick post: McFly's latest single "The Heart Never Lies" is, I think, getting its radio debut today on the Scott Mills show, which is currently in the middle of happening, but once it's over, you should be able to listen to it again here. If that ends up happening and no one else beats me to it, I'll try and get the song posted later, when I get back from some stuff.

Edit: holding pattern mp3 here, but it's really REALLY low quality; I'll be back with more commentary and a somewhat better version later, I hope, so unless you're desperate (i.e., like me), it might be better just to wait until then. Credit to here for the recording.

They say don't waste your time; they're obviously blind

Last.fm provides hours of entertainment. I'm trying not to get addicted to just messing around on it, but it's hard when I get such a kick out of just reading, say, the Click Five comments. A selection:

"The new album made my ears bleed. Yet somehow I'll end up listening to it inevitably."

"They have many songs better than Just the Girl. Just fyi to the 3000 people that have only listened to that one song." [6,000+ people have listened to "Just The Girl," while 3,000-some people have listened to the second most played track, "Catch Your Wave"]

"The Click Five without Eric Dill is like Queen without Freddy Mercury.."

"that side fringe really annoys me"

"Why? You think it's too emo?"

and some mild debate about Eric versus Kyle.

Though McFly's latest album is better than the Click Five's latest album, Last.fm-commentary-wise, the Click Five definitely win out.

(Oh, and speaking of McFly, I haven't mentioned yet that they have a greatest hits album coming out this November, preceded by a new single called "The Heart Never Lies" [that title is not promising...]--apparently you can listen to some live versions on YouTube, but I've deliberately avoided doing so. They've got a cover of The Jam's "Town Called Malice" on a Radio 1 compilation album coming out soon, too.)

(Another "oh": I'm listening to "All I Need Is You" right now, and it's really very good.)

To make me feel better

Do you know who is on TV right this very moment?

Without aid of a DVD or anything?

MCFLY!

Excuse me while I have a heart attack.

Of course, why any channel would choose to run Just My Luck on TV after its less than wonderful initial run, I'm not sure, but since I've never seen it, I think I'll have to watch the last few minutes now.

That's right, our love is overrated

Music I'm loving on other blogs at the moment (and as I write, it's expanded to just things I love on blogs in general):

You can never have enough Lena love, can you? You Don't Know Pop features Lena Philipsson, Helena Paparizou (if you like pop and haven't heard her music before, you absolutely must--start with "Mambo," "Gigolo," and "The Game Of Love"), and loads more.

Poplicious has a great song by Polish girl group Queens, written by a Swede; very catchy.

I know it's old, but the more time passes, the more I wonder: how did blog world not flip out over Dhany's song "Miles Of Love"? This is what dance music with pop sensibilities should sound like! The definition of a storming dance anthem. Find it at A Kind Of Love In.

I somehow missed the fact that Swedish artist Montt Mardié had a new (well, it's not even really new anymore at this point) album out, despite it being mentioned all over the place (including, most notably, on It's a Trap and Swedesplease) but I love current single "Metropolis," floaty pop with electronic influences that features one of the former members of Le Sport. Find it over at Swedesplease. With my love for the new Tough Alliance album and a personal Lo-fi-fnk revival going on, I'm thinking I may go through a mini Swedish indie pop phase.

Everything Don't Stop The Pop posts is a must-listen, but I have to single out the new Patrick Nuo song, even if only to give me an excuse to include a picture of him; catchy pop with guitars with chorus lyrics that, despite not being anything that should be particularly memorable, I love (note that the title of this post is not a coded message to these blogs; I just wanted an opportunity to quote the song).

Not actually mp3s, but I can't not mention Adem IAR's amazing post about McFly--you have to love his writing.

Why is everyone in the world not reading Thnairg's work? Some of my favorite writing on the Internet--well thought out but never pedantic. You know those sort of blogs where you know you'll at least search out samples of anything the writer mentions, just because of their writing and your trust in their taste? This is one of them.

The Zapping interviews up and coming Swedish singer Jonathan Fagerlund; "Playing Me" is still a great boy pop song I can't wait to hear the rest of.

Pop Unlimited must surely be one of the best blogs around. I was just thinking I wanted to hear more from the Tamperer when we get a post with three songs; I could go on and on and on about the great pop songs on this blog, but just visit it already! Poppy and international.

Great mini-reviews of a bunch of albums, including Just Jack, Maroon 5, Mika, and Mutya, over at XO's Middle Eight.

This news is ages old, but you absolutely absolutely must go listen to a clip of Darren Hayes's upcoming single "On The Verge Of Something Wonderful" over at Popjustice; it'll probably be a contender for my favorite song of the year when it comes out, based just on that clip. Still electronic, but so uplifting in a "wow, suddenly everything seems just that little bit better" way. Everything I could have hoped for from this album.

It's hard to know what's the best part of Chart Rigger sometimes--the pun-filled or blatantly honest titles? The writing? And you can't visit without reading the comments. Whether it's Shayne Ward in Sweden, Rihanna's new video for "Shut Up And Drive," or Enrique's single finally starting to rise up the U.S. charts, even if it's only still in the 20's, it's news with a slant--and that's a good thing.

Mobius has been writing about Jason Donovan's new single for a while now, and with good reason--it's really good! Definitely worth buying.

Worrapolava is back from France, bearing great songs like Christophe Willem's "Double Je" and a dance song by Tom Snare.

Ever wondered what it would be like to see Sahara Hotnights, Fibes, Oh Fibes, the Ark, Laakso, Laleh, Juvelen, Marit Bergman, Those Dancing Days, the Pet Shop Boys, Lisa Misokovsky, and amazing acts you didn't know existed yet in the space of three days? Read #1 Hits From Another Planet's report to find out.

Roxane's song "I Ain't Playin'" is so summery and so poppy! Featured on Pop Trash Addicts, which is also writing about drama surrounding Salt 'n' Pepa's "Push It," Sophie Monk, and Roxane.

Just in general, I'm loving Work Your Magic, a blog which loves Russian music and Dima Koldun, and EuropeCrazy, which loves European music, Måns Zelmerlöw, and Sebastian Karlsson.

The return of one of my favorite blogs--Digital Technique is back!