Assisted with some added vocals courtesy of Pharrell Williams, “Feet To The Fire” is the kind of upbeat pop track that only Rowland can deliver. It’s as catchy as anything on radio, but production wise exists in a whole different realm, and very few people work as well with the kind of instrumentation presented on this track as Rowland. It may not be a hit, but it’s definitely bound to be one of your favorite tracks this summer. You can stream “Feet To The Fire” below.
Rowland’s new album, Talk a Good Game, is available now wherever music is sold. (more…)
After years taking a public backseat to the popularity of fellow Destiny’s Child member Beyonce Knowles, Kelly Rowland has emerged in 2013 as the new diva to beat. Her singles and guest appearances have been consistent and varies, offering a wide platter of pop musings, and today’s release is no different.
“One Life” is the kind of song you hope to hear when you’re nearing rock bottom. You have a terrible job, your significant other is distant or non-existent, and you feel like no one cares – then this song happens and the clouds part to reveal a rainbow covered in sugar, spice, and everything nice. Norwegian hip hop duo Madcon could not have asked for a better way to debut in the US, and Rowland could not have picked a better single to continue her rise to total pop domination. The video keeps things simple, offering a series of performance shots, but something tells me you’ll be too busy dancing in your chair to care all that much. You can view the video below. (more…)
Former Destiny Child’s member Kelly Rowland made a run for a solo career following her pop group’s hiatus, but in recent years she has been relatively quiet. That all changes this morning with the release of her official video for “Ice,” a new single that pairs that vocalist with YMCMB CEO Lil Wayne. The track is smooth and should go a long way towards putting Rowland back on the charts. You can view the video below:
If you enjoy Kelly Rowland, you should check out OS artist Nuela Charles!
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Carly Rae Jepsen is in luck. It looks like she won’t have to ensure the continuation of her celebrity run after Call Me Maybe falls from its current summit by relying on the hoopla generated by her own Nipplegate”nude photos that ended up being someone else’s.
Thanks to a call from Adam Young, the one-man band behind Owl City, Jepsen is about to relight the fire under her rising star the old-fashioned way: with a new hit. “Good Time,” her duet with Owl City, just debuted at No. 18 on Billboard’s Hot 100, which means that her breakout No. 1 single won’t forever be alone on her hit list.
It’s pop symbiosis at its most effective: He saves her from that pop purgatory known as one-hit wonderdom, where he had been languishing since 2009, when the Owl City single “Fireflies” hit No. 1 on the Hot 100, and she helps get him out of it. Sure Katy Perry could have accomplished the same thing in the middle of a dead sleep, but that hardly would have been a meeting of near-equals.
Before he became Vicious Corleone, Terance Williams was just a kid with a thing for Atlanta rap, who happened to have a dad with a thing for Queen, The Eagles and Journey. You can hear the convergence of those two schools in the rapper’s self-described Southern rebel music. Vicious mixes ˜90s hip hop with up-tempo, bass-heavy hooks and rock riffs”an intentional departure from both the dance hits and trap music that rule the Atlanta rap scene. On Shots Fired (Reload) snippets of sirens and 8-bit audio come in lashes, whipping up the audience. M.P.B. (that’s Music, Party, Bullshit) combines scraps of different beats, over which Vicious delivers his manifesto: We don’t want to be doctors or lawyers / We ain’t Huxtables. But don’t think that the rapper doesn’t have ambition. In 100 Miles and Running he sets his sights high, saying, I’d settle for Kelly Rowland / Ms. Knowles is taken. Atta boy.
Remember the days when R&B and hip hop was the sound of pop? From the ˜90s to the mid ˜00s, music’s most dependable hitmakers”Mariah Carey, Whitney Houston, Toni Braxton, Boyz II Men, R. Kelly, Usher, Brandy, Monica, Alicia Keys, Destiny’s Child and Beyoncé, among them”specialized in crossover soul, climbing both the R&B charts and the Hot 100 in tandem.
But lately, something strange has been happening on Billboard’s R&B /Hip-Hop Songs chart: A hit is no longer necessarily a hit. Just because a song is big in the R&B sphere doesn’t mean it’s big anywhere else. For the week ending April 7, 2012, only one song in the R&B/Hip-Hop Top 10”Tyga’s “Rack City””had managed a comparable placing on the Hot 100.
The song at No. 1, Beyoncé’s “Love on Top,” which had been there for multiple weeks, was way down at No. 54 on the Hot 100. (It briefly entered the Top 40 last September, debuting and peaking at No. 20 after Beyoncé performed it at the MTV Video Music Awards.) Meanwhile, there wasn’t a single R&B diva in the Top 40 aside from Janelle Monae, who got there by guest-singing on rock band fun.’s No. 1 hit We Are Young.
What happened to pop’s soul? There’s a disconnect between the pop and R&B charts that hasn’t been so pronounced since the days when Michael Jackson’s label, CBS Records, threatened to pull all of its artists from MTV if the then-fledgling network didn’t play Jackson’s “Billie Jean” video.