Take Owl City's 'Fireflies':
"You would not believe your eyes
If ten million fireflies
Lit up the world as I fell asleep."
You're right, I wouldn't because the lyrics are nonsense!
It actually concerns me where the idea would even arise from.
N-Dubz's continued chart success is exactly the sort of tragic material which poisons the soup of today's music. 'Say it's over' is the latest in a series of releases from the trio that threaten the success of talented musicians in the charts – forcing the likes of Mumford and Sons’ ‘The Cave’ out of the rankings.
Has it come to signify that the melody is all that matters?
For me, it is the likes of N-Dubz that highlight how an (arguably) catchy melody gets recognition at the expense of a beautiful wordsmith. And, although Radio one’s Official Chart Show is based upon a democratic voting system, it is still demoralizing to see poetic lyrics frequently overlooked. It makes it even harder to understand how others don’t share the same anguish at listening to the likes of these awful N-Dubz lyrics:
“But it just aint the same anymore,
You’re out of my top ten.
This aint good for your health,
And only if you knew,
That every time I’m f**king you,
I think of somebody else”.
It’s not even just the unimaginative lyrics that make me sick – it’s the uninspired topics.
It seems that the noughties have witnessed artists that are producing songs from the dredges of societies’ topical interests. This month saw Lady Gaga and Beyonce reach number one with a song about bad phone reception. I rest my peace!
But I fail to see a shining light for great contemporary lyricists, such as Marcus Mumford, of Mumford and Sons, who struggle in the sea of commercial, audience-pleasing tracks to gain the credit they deserve. The business of producing music that hits a demand for instantaneous, new material means it is rare that a song will have any durability past its so many weeks of chart success.
All I can say is that I welcome the day of refreshing change when I can justify the artists who are placed in the charts.
Ever the romantics, Usher and Will.I.am show their appreciation of the female form in ‘OMG’.
The Plot
Usher is trying to convince his honey to let him love her down after his sudden realisation “Oh my gosh, I’m so in love”. And he hopes that, by offering his shawty a bit of variety in the bedroom, he can persuade her.
Who said chivalry is dead?
But this is the girl of his dreams, the one he has finally found, she has everything he has ever wanted..."a booty like pow, pow, pow" and "boobies like wow, oh wow". Now, that's the barometer of a good woman!
And if that didn't convince her to fall into his arms, surely the compliments that follow will...
"Girl you something special, you just like dynamite,
You're, You're, You're, You're, You're, You're, You're out of sight."
What a charmer!
But he doesn't stop there, he hasn't managed to display the strength of his affections. Who would have thought the true measure of a man in love is tears.
And to think this is number one, Oh my gosh!
And I’ve still not forgiven Jason Derulo for ruining a beautiful Imogen Heap song in ‘Watcha say’ (you can see where he went wrong just from the title), so his follow up, 'In my Head', was always going to be an instant target for the Lyric Critic.
The Plot
Jason Derulo clearly wants to play to his strengths; as he points out he's not one of those guys who knows all the right things to say. I'll second that...he does say "oh" a fair bit! But instead, he wants to demonstrate he's a good teacher in the bedroom. Clearly he's a confident chap, after all, he knows he has got more to offer than the guy she's already dancing with. So it remains that this girl is doing all the right things in his dreams - fulfilling his fantasies and all that - but I think that's the problem Jason; all the things you're singing about are in his head...
And that’s exactly where they’re going to stay!