17 year old Amelia Lily scared the shit out of other UK X-Factor 2011 contestants when the judges broke all the rules and allowed her back onto the show. Ultimately Little Mix and Marcus Collins both beat her and released shit music, including a cover of Seven Nation Army that made my ears bleed Stigmata style seemed like a really good idea.
A hybrid of Ladyhawke and Pink, somewhere between lady and punk, Amelia’s vocals were rule-breakingly incredible. Exciting then that her Xenomania produced (Girls Aloud, The Gossip’s latest) debut single finally has a video, which looks roughly like it cost $250 to make, including the car hire and her outfit from Dangerfield.
What do you think? Will it be a hit in the UK? Or will it playing in supermarkets by October?
Whether you know it or not, pop producers Xenomania have been responsible for more addictive tracks than Courtney Love’s arm. They have almost single-handedly made sure that Girls Aloud are referenced more for credibility than shagability, giving us iconic single (Biology), after iconic single(Call the Shots.)
Switching effortlessly from gossip rag fodder to indie-rockers The Gossip, Xenomania have enabled Beth Ditto to get her disco on, something which she toyed with on her solo EP. Move in The Right Direction suggests that the right direction is wherever ABBA is playing.
19. M.I.A – Bad Girls
M.I.A has struggled with the balance of being a badass Bollywood bohemian and top-of-the-pops Timbaland tart. Her first album was ground-breaking, yet alienating, while her second proved to be surprise hit, with her Clash-sampling Paper Planes assaulting the US charts. However her third album, Maya, received tepid reviews and failed to achieve airplay (because well, it was a giant wank.)
With Bad Girls, it appears M.I.A has nailed the happy medium. The Eastern influence is as undeniable in the tune as it is in the video, but the hip-hop percussion is Americanised enough to hear it in retail stores globally.
A welcome return to form.
18. A-Trak, Mark Foster & Kimbra – Warrior
Part of Converse’s consistently amazing Three Artists, One Song campaign, Warriorbrings together Mark Foster (Foster The People), A-Trak (Duck Sauce) and Kimbra for an 80s synthed ménage-a-trois. Sounding like some sort of sequel to Mark Ronson’s Bang Bang Bang, Warrior might just be the finest addition to the Converse campaign yet.
Between Kimbra’s sensational debut Vows, her scene stealing spot on Gotye’s Somebody That I Used To Know and her career peak of Miami Horror’s I Look To You, she can barely put a foot wrong. Ditto Mark Foster, for while this pushes the envelope on Foster the People’s sound, still has his fingerprints all over it.
Belligerently appealing, the track has that kind of indie-electro feel that is heroin to hipsters.
17. Ellie Goulding – Lights
Ellie Goulding had already ridden a giant wave of success in the UK, but there was something missing from the formula to keep her from world success. Though likeable, Ellie’s reputation as being about as boring as Amish pornography meant being confined to success only in her homeland.
In saying that, her remake of Your Song was so amazing that the royal couple asked her to perform it at the wedding, when they could have easily asked the queen (by that I mean original artist Elton John.)
However it was Lights, a scorching hot synth-popera with a dark twist that led Goulding to take over the US Charts, where her song has now gone double platinum for sales of two million copies.
Ellie’s real achievement though is managing to justify dating a man with zero talent – Skrillex.
16. Ed Sheeran – Small Bump
Fifteen years ago, a video clip emerged of a foetus singing the lyrics to an accompanying song. That song, Teardrop by Massive Attack, went on to become my favourite song of all time.
When dealing with a topic as sensitive as a miscarriage, there are only two possible outcomes: contrived soppy shit or epic ballad that draws on raw emotion. The success of Small Bump stems from Ed Sheeran’s genuine lyrics that reflect on a close friend’s miscarriage, “You were just a small bump unborn for four months then torn from life. Maybe you were needed up there but we’re still unaware as why.”
After all, there’s only one thing sadder than a miscarriage and that’s a ginger pop star.
You have to hand it to Lana Del Rey – she takes this whole “artiste” business quite seriously.
Whether you admire her ambition of recreating the idealistic 1960s America concept or think she’s a fuckwit for impersonating Marilyn Monroe and Jackie O, National Anthem is somewhat of an event.
The lush string intro, the call-for-action chorus and her already trademarked dramatic trip-hop sound establish the epic feel of National Anthem, but it’s the clip that makes the track so special.
In the wrong hands (aka anyone else), this would have been a hot mess of wankery. Instead, Del Rey has committed whole-heartedly to a 7 minute and 40 second open dialogue about societal changes, racial issues and the American Dream being a hoax.
Some people will want her lynched for attempting to make anything more conceptual than flashing her tits at camera, but you have to remember this is the same girl that delivered Video Games and Blue Jeans. Once the hoopla of her performance on Saturday Night Live dies down (it did sound like a howler monkey having an exorcism), people might just go back to realising what Del Rey actually is: an artist, not just a singer.
Now, please make the next and final single Radio and bring on album no.2!
A few days ago, kaleidoscopic chanteuse Kelis dropped her latest single Distance. Channelling early 90s Brit-Trip-Hop beats (think Massive Attack), the track is produced by dupstepper Skream…and is likely to piss off a lot of Flesh Tone fans.
That’s the thing about Kelis. Undefined by formula and unrestricted by genre, her entire career span has been one reinvention after another. Debut Kaleidoscope introduced Kelis as an alternative R&B diva, one that channelled The Neptunes at their freshest. Wanderland was perhaps Kelis’ only safe move, re-employing The Neptunes to critical applause but commercial abortion. Breakthrough Tasty requires no introduction – singles like Milkshake and Trick Me pulverised commercial radio and TV/film cameos with a classic, mainstream R&B flavour.
Unconcerned with travelling the monotonous route, Kelis released her 18-track melting pot Kelis Was Here, a fusion of traditional R&B, electro, hip-hop and even country. The album was met with less than the usual acclaim and many fans felt slightly alienated, but Kelis’ appetite for experimentation is unquenchable.
Four years, a divorce and a baby later, Kelis ditches the R&B flair in favour of another reinvention: Electro empress. Lead single Acapella became one of her boldest and best moves to date, with a scorching hot album full of electro-pop and house anthems to follow.
So how does one concoct a Best Of list by an artist as daring and experimental as Kelis? Read on and find out! As is the rule with all other Top Fives, there are no guest spots (otherwise the Calvin Harris creation Bounce would be in this list.) So without further ado…
5.Lil Star feat. Cee-Lo (Kelis Was Here – 2006)
Most people would be surprised to know that Bossy, the lead single from Kelis Was Here, is just as successful as Milkshake. While Bossy managed to sell a cool two million copies in USA, it was by no means the highlight of the album. That honour belonged to Lil Star, a stunning Cee-Lo Green duet that kicks off like the M.A.S.H theme and ends being her fifth solo UK Top 5 hit. Only in Kelisville could a cute song have such a bonkers video, where she seems to have won a Project Runway challenge of turning Aluminium foil and home insulation into some sort of Avant-Garde jacket.
4. 4th of July (Flesh Tone, 2010)
Fans of Flesh Tone could argue their favourite song until the Revolver crowds come home. Acapella re-wrote the rules of modern electro-pop while Brave throbbed with Benassi beats, but it was 4th of July (Fireworks) that left the lasting impression. A classic piano-driven dance banger (strangely nostalgic of Dario G’s Sunchyme), it was also an unusual ode to motherhood that builds upon itself until the triumphant final chorus, “You make me high, just like the sky on the fourth of July.”
3. Millionaire feat. Andre 3000 (Tasty, 2003)
Put yourself in Kelis’ shoes. You’ve just had two R&B classics and then you ring your label and say, “I want to release a bizarre, instrument-heavy and almost chorus-less funktronica rap ballad”. Clearly, Andre 3000 was taking notes when he co-starred on this jam, because his collaboration with fellow Outkast member Big Boi, I like the Way You Move, sounded like the way Millionaire moved.
Ahead of its time, Millionaire was a ballsy choice for Kelis and one that earned her a shitload of fans and respect. Not to mention Andre’s rap that walks the fine line between something my four year old niece could have written and a poetic revelation, “Wherever there are rats there are cats. Wherever there are cats there are dogs. If you got dogs you got bitches, bitches always out to put their paws on your riches. If you got riches you got glitches, if you got glitches in your life computer turn it off and then reboot it now you’re back on.” It’s like Bob Dylan and Peter Griffin co-wrote it!
2. Caught Out There (Kaleidoscope – 1999)
Aka “I hate you so much right now”, Caught Out There was an instant classic. Catchy, marketable and an anthem for late 90s teens, the song welcomed Kelis into the music market as a hybrid of Beyoncé and Pink – she’ll serenade you into bed and tell you to fuck off in the morning. As for the beats – classic Neptunes that they arguably never bettered.
1. Trick Me (Tasty, 2003)
Milkshake hit a sweet no.3 on the US Hot 100, but it was the Dallas Austin (Sugababes, Madonna, Pink) produced stomper that had every other female R&B singer creating a plan B for life. A shit hot mix of R&B, ska and reggae, Trick Me is, almost a decade on, as amazing and fresh as it was then.
I have been known to dance like Kelis to this song after as little as TWO beers, it’s that good. I have no doubt that her inventive nature will continue, but if she ever does repeat herself, she can trick us twice any day.
Over the past 25 years, Kylie Minogue has amassed millions of fans, sold 60 million records, won BRITs and a Grammy (kind are kind of like ARIAs and Logies except people actually give a shit) and turned gay man dancing sweat into millions of dollars. Not bad for someone who apparently “can’t sing”, has been turned on by the public like Milla Jovivich by rabid inside-out dogs in Resident Evil and starred in THIS!
You know that scene in The Dark Knight where Batman has to choose between Maggie Gyllanhaal and the District Attorney? That’s NOTHING on choosing your favourite Kylie Minogue singles if you’re a fan. You start wondering how Light Years (1998’s “Light Years”) was not released as a proper single, despite being, pardon the expression, light years ahead of Madonna’s Confessions on a Dancefloor? Don’t even get me started on The One (2008’s “X”), easily one of her best tracks that was given a shonky release. Don’t expect to see Where The Wild Roses Grow or Kids either, as they’re both duets.
To commemorate “K25: 25 Years of Kylie Minogue”, her performance at the Queen’s Jubilee and the release of her latest single Timebomb, here are Top 10 Kylie Minogue Singles.
10. I Should Be So Lucky (Kylie – 1987)
Everything Kylie Minogue did before the mid-90s has aged as gracefully as Bridget Bardot.
However, in the same way something can be so bad that it’s almost good again, I Should Be So Lucky has aged so badly it’s almost fresh again. With synthesisers that make her scrunchie look modern and lyrics that repeat like your lunch after seeing her outfits in this clip, the Stock, Aitken & Waterman hit is still genuinely fun 25 years after it topped the UK and Australian charts. For another example of backward ageing, check out Tears On My Pillow.
9. Breathe (Impossible Princess – 1998)
If you don’t listen carefully, the brilliance of Breathe is easily unheard. Much like the “Body Language” Chocolate or the “Kylie Minogue” Put Yourself In My Place, the track is Kylie at her minimalist best. Breathe was never going to top the charts – it wasn’t intended to – but it perfectly displayed the Impossible Princess-era alternative Kylie that briefly ruled Triple J, before her next album Light Years shot her out of the pop stratosphere. Not to mention her best album was also the one she had the most creative input into, “Don’t doubt me just because I am quiet, I’m thinking, thinking about it all.” The song should have been called Gasp, because that’s what I do like a little bitch every time it comes on my ipod.
8. All the Lovers (Aphrodite – 2011)
Everybody so desperately wanted All The Lovers to be Can’t Get You Outta My Head Again. A Modest hit in Britain, it was the perfect representation of the sound of “Aphrodite”. More I Believe in You than Can’t Get You Outta My Head, it effortlessly seduces with an electro-pop chorus as epic as the accompanying video. Apparently, all the lovers are sex-crazed, naked, tri-sexual orgy enthusiasts that have some sort of white supremacist underwear contract!
7. Love at First Sight (Fever – 2001)
You might have heard of “Fever.” It contained single after single of disco amazingness (In Your Eyes, Come Into My World anyone?) and was about as popular as one of Justin Bieber’s pubic hairs. In amongst the global Fever for Kylie, Love at First Sight was like a giant crack rock of addiction. Coming across like an entry-level Daft Punk, the song was thrashed on radio like a Matthew Newton ex. And the clip? It’s so amazing and Kylie looked so ridiculously sexy that even cargo pants became cool again, until Dannii was briefly spotted in them a few months later.
6. I Believe In You (Ultimate Kylie – 2004)
When an artist releases a best of, it’s usually some desperate ploy to sell more of the same shit or occasionally includes ‘new material’ that involves about as much creativity and effort as a wank. What does Kylie do? She adds two of the best songs of her career (Giving You Up is criminally undervalued and I’m question its absence in this list as I type.) Jake Shears’ other project, The Scissor Sisters, might have to pay for dinner using welfare cheques, but co-writing this might just be his legacy. A new wave electro-pop masterpiece, it is as simple as it is spectacular.
5. Some Kind of Bliss (Impossible Princess – 1997)
Some Kind of Bliss is famous for three reasons. It signalled the official arrival of more alternative Kylie, was co-written by the Manic Street Preachers and sold approximately three copies, give or take two. In fact, despite being a lead single, Kylie didn’t even include it on “Ultimate Kylie.” Kylie reportedly never wanted the track to be released as a lead single, but the label pushed her. Unfortunately, despite being Minogue’s most impressive album, “Impossible Princess” sold terribly but earned Kylie something that she’d never been paid: respect.
4. Confide In Me (Kylie Minogue – 1994)
Confide In Me scared the shit out of a lot of people. These people of course, had taste and had to deal with admitting that they liked a Kylie Minogue song, which was one step above admitting that your favourite weekend activity is playing spin the meth pipe. The opening string arrangement was dramatic and unsettling (as was Kylie’s makeup), the video was dark and arty and almost every Kylie enthusiast would say this is their standout moment.
3. Did It Again (Impossible Princess – 1997)
I could go on about the unforgettably bitchy lyrics, the ahead of its time usage of Indian sitar in the chorus or its appearance in Triple J’s Hottest 100…but at the end of the day, it’s all about four Kylies, scratching, throwing chairs and kicking each other like skanks. And that’s all anyone ever really wants to see, isn’t it?
2. Can’t Get You Outta My Head (Fever – 2001)
I actually remember the first time I heard this track on radio. My reaction to the first five seconds were that the “la la la”s were ridiculous and that her career was over, by the end of it I thought it was one of the greatest pop songs of all time and my credibility was over. Sounding like a revamped Blue Monday (the mash-up is seriously amazing), the track went to Number One in approximately infinity countries, becoming the biggest song of her career and one of the Top 50 highest-selling physical singles of ALL TIME. It was also recently announced as the most played song in the UK since the year 2000. Unfortunately, the same popularity was not extended to white one-piece cat suits with hoodies, complete with slutty fabric tears and red lampshade wearing back-up dancers.
1. Slow (Body Language – 2003)
Controversial choice but hear me out! There’s always been two Kylies in her career. The global disco superstar (“Light Years”, “Fever”, everything before 1995) and credible Kylie that couldn’t sell an African baby to Madonna (“Impossible Princess”, “Kylie Minogue.”) Slow, and in a way “Body Language”, was the happiest of mediums. Crazy cool but shit hot, Slow is hands-down the coolest track Kylie has ever, and will ever create. It hit Number One in Australia and UK and more importantly, caused a 3 minute and 56 second erection pandemic around the world – See below.
Anyway, the whole purpose of this is to celebrate her latest release, Timebomb, featured below:
It was less than a year ago that Wally De Backer’s music was confined to Australian community radio. Yesterday however, he celebrated reaching no.1 on the US Billboard Charts (a feat unaccomplished by an Aussie since Savage Garden in 2000.)
“Somebody That I Used To Know” has become a cultural phenomenon.
Challenging Adele’s “Someone Like You” for batshit crazy break-up anthem, the track’s trajectory has left industry moguls scratching their heads and Gotye waiting outside the bank for royalties to be deposited.
So how did it get it from Triple J to almost triple platinum globally?
Going Out on a Limbra. STIUTK was not intended to be a duet, which seems inexplicable, given that the likeability and perspective of the song heavily depend on the she says of this battle. Even though Kimbra wasn’t Gotye’s first choice, her contribution is the unquestionable highlight. A rising star in Australia and her native NZ, Kimbra turned out to be a very fortunate choice. Had Gotye enlisted a big name, she may have not been able to drop everything to tour the US mercilessly as they have.
Big Down Under. On August 15th, a mere three weeks after release, STIUTK hit the summit of the Australian ARIA charts, where it stayed (on and off) for eight weeks. Certified nine times platinum with sales of 630,000, it is the equal second-longest running Australian song in history, behind Daddy Cool’s “Eagle Rock.”
Where The Bloody Hell ARIA. 27th of November – the critical and commercial leave is behind him, now it’s time to reap the awards. STIUTK earns Gotye the highly coveted Single of the Year, Best Pop Release and Best Male Artist, adding to his further tally of Producer of the Year, Best Video and Engineer of the Year. Six awards from one song? Epic, even in retrospect.
Be Joined At The Hipsters. Triple J’s Hottest 100 are back to loving an Aussie battler! 2010’s Big Jet Plane broke a streak of international winners last year, but STIUTK looked almost too obvious a choice to take the crown. Fortunately, the exceptional sales figures didn’t discourage the hipster crowd from voting this to glory.
Cover your tracks. Canadian indie rock group Walk off the Earth managed to back up their quirky five-on-one guitar delivery with scorching hot vocals. Eskimo Joe underwhelmed with their drab Like A Version interpretation. The Muppets, Blue Man Group and a wave of mimics followed.
Making Mirrors, Breaking Records. STIUTK hit the Brits like contagion and its reign of terror is nowhere near done. Having topped the charts for five non-consecutive weeks, it is easily the best selling song of the year and is hot on the heels of the million mark, beating end of year chart toppers including Gnarls Barkley’s “Crazy”, Leona Lewis’ “Bleeding Love”, Alexandra Burke’s “Hallelujah”, Lady Gaga’s “Poker Face”, Eminem & Rihanna’s “Love The Way You Lie” and narrowly trailing Adele’s mega-seller, “Someone Like You.” It is now the highest selling song in the HISTORY of both the Polish and Dutch charts.
Snap Back To Reality TV. While Jimmy Kimmel Live introduced Gotye to the Americans and STIUTK featured on 90210 and Gossip Girl (how most indie songs gain attention), it was the wave of reality TV shows that assaulted mainstream American memories. In the space of just a week, it was performed by Lindsey Pavao on The Voice, as well as a duet by Elise and Phillip on American Idol. Throw in an obligatory Glee cover and a feature on Saturday Night Live within a few days of each other and you have your first US No.1 for an Aussie in over a decade.
Gotye Now. He’s made headlines for a startlingly good show at the world’s coolest festival Coachella, STIUTK storms past the five million mark on the global chart today (seven weeks at no.1 and stronger than ever) and the YouTube count stands at over 168 million views. Even One Direction couldn’t do anything to speed up this runway train.
Even if he can’t back it up with another single, Somebody will permanently leave its mark around the world. Not bad for a song that kicks off as “Bah Bah Black Sheep”!
I purposely waited a few days to post this to coincide with 100 year anniversary of the Titanic sinking, because this Starship is the biggest maritime disaster since! It’s not even like it’s technically “bad”, it’s just you don’t even know where to look…
I have somewhat of a soft spot for Parklife. It could be that it is at the beginning of the festival season. It could also be that the music manages to be both up-to-the-second current and yet comfortably familiar – Goldfrapp and M.I.A being previous highlights. Whatever the case, my soft spot inhibits my reaction to over-priced drinks, queues that make you question civil rights and that at 26, I seem like the token geriatric.
The line up this year was stellar. The popsters had Little Boots and Empire of The Sun, the dance fanatics didn’t know which way to look and since half the crowd was dressed like La Roux, it would be fair to say she was mandatory viewing.
If anything, this was the first event in recent memory where choosing acts caused distress. After making the mistake of spending more time working my way to Mstrkrft than actually seeing them perform, I resolved that I would make sure I caught full shows rather than pushing the boundaries of anxiety trying to be at four stages at once.
The first set I saw in full was Little Boots. I edged my way to the front row and was brimming with excitement to see if the gorgeous Victoria Hesketh’s performance could live up to the hype surrounding her BBC Sound of 2009 win. After a shaky intro (the first two songs were almost vocal free), Hesketh’s energy and girl-next-door approach won the crowd over – Even if that crowd was smaller than predicted. Once audible, her vocals shone on crowd favourites Remedy and New In Town. Mathematics was a surprising highlight, synthesisers throbbing throughout. The best was definitely saved for last though – Stuck on Repeat’s poppy catchiness was pandemic. If anything, the biggest downfall of the performance was that it fell under sunlight.
One Mstrkrft debacle later and I found myself back at the Water Stage to witness La Roux’s first Australian performance. With my expectations higher than her own shrilly voice, it was going to be interesting to see if she could survive the hype. Elly Jackson didn’t just survive it; she was so amazing they could have re-named Parklife as ‘La Roux’s concert with supporting acts.’ Tigerlily kicked off proceedings with the instantly manic crowd bopping along. Quicksand was also an early thrill, while radio hit In For The Kill inspired hands in the air. Though it was all about Bulletproof – A ballsy and pulsating 80s inspired break-up anthem to which the audience chanted every word of the chorus with her. Jackson’s vocals were flawless, the synths pulsated and my only criticism was that I didn’t get to hear the stunning Armour Love or As If By Magic. Best of the day.
Empire of the Sun were under similar pressure. Having never performed live, missing Nick Littlemore and most likely the biggest drawcard for the day, the heat was on. The introduction saw garbage bag dressed dancers reminiscent of Zoolander’s ‘Derelict’ look while Luke Steele was donning his usual bizarre apparel. Unfortunately, the gig didn’t maintain the interest as much as the attire. Steele’s vocals were prominent and hits We Are The People and Walking On A Dream excelled but the energy slowly weakened amongst concert goers. Maybe they started too late? Maybe the Water Stage was better insulated within a tent like last year? Regardless, when I witness a group of girls chanting La Roux’s Bulletproof towards the end of Empire’s gig, it became evident the best of the day had been already been seen.
I also erred by staying for A-Trak – The only people left dancing looked like they could have danced to silence, all others were on their way. I caught a quick glimpse of The Rapture who made it easier for me to see my mistake, the crowd were frenetic and their fusing of different genres was admirable.
Park Life was by no means a perfect day. However, exciting acts, amazing performances, brilliant weather and an astonishingly behaved crowd keep Park Life at the top of the pack. Same time next year?!
Megan Washington, lead singer of Melbourne-based band Washington, received a reaffirming career jolt in January when her then little-known band were announced as the Triple JJJ Winner of the Melbourne Leg of the Big Day Out 2009.
This sudden accolade in no way reflects the long journey for Washington, whose influences include Rufus Wainwright, Billie Holiday, Tom Waits, Leonard Cohen, Radiohead, Gillian Welch, Antony and the Johnsons and Tim Burton (of all people!)
It’s this eclecticism that shines in Washington’s music. Welcome Stranger echoes Lisa Mitchell’s minimalist pop calamity. Clementine is a modern re-working of American folk classic Oh My Darling, Clementine. It shouldn’t work but it’s a highlight, thanks to Washington’s Regina Spektor like vocals. While Tonight, You Belong To Me resonates with pop/country act She & Him’s best work, a gorgeous banjo-driven duet with M.Tomlinson.
Washington (including Megan Washington, John Castle, Lance Fergus, Ryan Munroe, Octopus Irwin and Des White) are playing at the Northcote Social Club on June 19th.Tickets $10 + bf.
Pardon my French, but who the FUCK does Justin Timberlake think he is?
Don’t get me wrong, I am a humongous fan of the guy. He can write, sing and dance. He’s fashionable as all hell, down to earth and is the lucky receiver of cuddles from one of the world’s hottest women, Jessica Biel. So apart from blatant jealousy, what is my problem with JT?! HE MAKES ME WAIT…
When JT dropped Justified in 2002, I was as shocked as anyone that the album was a credible pop opus that birthed genius singles like Cry Me A River and Rock Your Body. Even Rolling Stone declared Justified close to Michael Jackson’s work. The album shipped 7.5 million copies and convinced everyone who hated N*Sync that boy bands might deserve salvation (as long as they eventually split up.)
So what did JT decide to do next? He makes us all wait four painfully long years until he released his sophomore solo album, Future Sex Love Sounds. Unfeasibly, it was even better than his first, infusing Timbaland-produced beats into gorgeous ballads and summer dance hits. Thanks to singles like SexyBack and What Goes Around…Comes Around, fans responded in droves, bestowing three US No.1 singles and 9 million sales.
So…Two and a half years on and no plans are announced for a third album. I need to be very clear about the following:
1) I’m very pleased to see JT pop up in clips for Madonna, Rihanna, T.I., 50 Cent & Ciara. Even happier that he gets to flex his writing muscles. But PLEASE JT, release your own album soon.
2) There are an abundance of actors out there. While his work in Black Snake Moan was stellar, it simply isn’t necessary. Stick to music mate, it’s what we want! The Love Guru’s exclusion of anything remotely decent probably ensures his acting career might soon be retired…
JT, my hate stems from my love. Just give me another album and I’ll shut up…For now.
