Choice cuts from recording season’s buzz-worthy releases
Kanye West’
Kanye West’s rap, hip-hop and pop innovations don’t really need his pigheaded provocations to convince music buffs about how talented he is—because his music speaks for itself. Check out his seventh album, “The Life of Pablo,” and you’ll know what we mean:
Instead of collaborating with Rihanna to whine about the much-deserved accomplishments of Taylor Swift, the inexplicable object of his derision and constant bullying, in “Famous” (“I feel like me and Taylor might still have sex/ Why?/ I made that b***h famous!”), or lashing back at his bashers in “I Love Kanye,” Yeezus should have focused on tracks that didn’t “use” other celebrities to keep him in the limelight.
What he generates, instead, is negative feedback that draws attention away from his brilliant songs like “FML” (with The Weeknd) and “No More Parties in LA” (his first with hot-to-trot Kendrick Lamar) that disprove the notion that the only thing going for him are his big mouth, a bloated ego and his wife, Kim Kardashian.
The perception of impertinence is amped up even more when Kanye likens his “conscious coupling” with Kim to that of Joseph and Mary (in “Wolves”). And he wonders why he has as many haters as he has avid followers?
For something more musically alluring and appropriately provocative, Kanye collaborates with El DeBarge (in “Highlights”), talks about his relationship with a Higher Being (“Father, Stretch My Hands, Pt. 1”), shares his fears about becoming like his negligent father who left him and his mother when he was just 3 years old (“Father, Stretch My Hands, Pt. 2”) and sings about resisting temptations to stay true to Kim (“FML”). That’s more like it, if you ask us.
Kanye West’s “The Life of Pablo”
Sam Concepcion
If you were bowled over by the youthful vibe of Sam Concepcion’s “Teka Break” and his PhilPop-winning entry, “Dati” (with Tippy Dos Santos and Quest), there’s more musical fun and booty-shaking froth to be had in his sleek and significant OPM collection, “Bago.”
Top picks: The irrepressible hooks of “’Di Mo Ba Alam?” (about unrequited love), the promise of titillating adventure in “Kalsada” and the R&B-laced ballad, “Bago.” And it doesn’t hurt that Jungee Marcelo’s “Teka Break” is also showcased in the lineup.
Concepcion’s “Bago”
‘Grease Live!’
Partial to show tunes? In the soundtrack of “Grease Live! (Music from the Television Event),” the modern iterations of “Summer Nights,” “Hopelessly Devoted to You” and “You’re the One That I Want,” sung by Julianne Hough (as Sandy Young) and Aaron Tveit (Danny Zuko), aren’t all that bad.
But Julianne and Aaron have a hard time sustaining the effusive theatricality and living up to the versions (and characterizations) immortalized by Olivia Newton-John and John Travolta.
The soundtrack contains standout tracks that demand to be heard—from Vanessa Hudgens as Rizzo in “Look at Me, I’m Sandra Dee,” Boyz II Men as the Teen Angels in the Motown-channeling “Beauty School Dropout,” and Carly Rae Jepsen’s (as Frenchy) fretful longing in “All I Need is an Angel.”
But the lineup’s pièce de résistance is steel-voiced Jessie J, who seizes the spotlight with her skillfully realized vocal runs in her revival of Frankie Valli’s “Grease (is the Word).”
From left: Julianne Hough, Aaron Tveit, Vanessa Hudgens
Lee DeWyze
Despite his appealingly resonant voice and impressive range, Lee DeWyze, the 29-year-old grand champion of “American Idol’s” ninth season, doesn’t evince a lot of growth and versatility in his sixth album, “Oil & Water.”
Despite its drowse-inducing repertoire, however, the album isn’t without its charms.
You’ll find Lee’s moody musings in the title track and the folksy patter of “Again” soothing.
But, his talent is best served by the idiosyncratic lilt and nostalgic bent of “Hollyridge.” An unsolicited piece of advice for Mr. DeWyze, though: It’s time to “stretch”!
