They’ll either give it something less than a 6.5, or higher but delete the Blue Slide Park review. They lack the courage of conviction.

Am I hearing the same song as these guys? This is awful.

I’m not sure I agree with your second paragraph, but I can see where you’re coming from with it.

I do think the “cute n’ sexy” voice falls more in line with pandering toward the self-aware mock-seriousness junkies, than it does to the fellows looking to get their bone on. Although I don’t doubt that the latter are a seriously large number of her audience (and seemingly every female musicians audience.)

Also as an aside, I don’t think her music is to be held high with the sophists of rap, and their stone tablets of Illmatic lyrics. I just think it’s very intelligent, funny music that needs to be appreciated on the level that it’s put out.

I think it’s a good pop cover of a pop song.

The key is not watching the video and just listening to it. The douchebaggery lessens significantly.

I don’t think it’s a throwaway line if it’s the best line on the track.

The problem isn’t really consumers, or a lack of legal safeguards on the internet or their enforcement. These all play a role in decreased revenue, sure.

But the focus should instead be on the distribution channels. Music wasn’t devalued by Napster, at least in a meaningful sense. Music was devalued by companies like Apple and Amazon, which when creating their brand-powered mp3 markets, cut market price of an album in half and allotted a FAR greater portion of earned revenue to non-artist parties. On the internet, limitless “information” whether it be in the form of music or movies, cannot have differing prices between retailers because there are no supply barriers to excuse it. Pricing then comes down to demand and the lowest common denominator for a company to turn a profit. When you look at CD sales decline in tandem with adjusted digital sales, the drop is not nearly as steep as we might like to pretend.

Another factor still neglected, is the record labels, in cahoots with these powerhouse internet giants. Artists unfortunately sign away a great deal of their digital distribution revenue, in favor of the exposure and advances they may not otherwise hope to get. Good luck being an unsigned artist available on iTunes.

Theoretically in this new internet model, it should be easy for a band to rise to the top of their own talent or promise, without ever being signed. Their rising notoriety would have record labels flocking to them, with the band holding the leverage in contract negotiations. But most professional music bloggers fail to do their due diligence, in seeking out music of their own volition. They rely largely on what is sent to them by label-affiliated promoters. Despite all our talks about the INTERNET being this WILD UNTAMED PRARIE OF USER-LED INTEREST, the fact is bands still need record labels to get noticed (with of course, the odd exception.) As long as that’s the case, bands are not going to get a fair shake.

If all the kids think she’s cool, then she’s cool. That’s pretty much how being cool works, like it or not.

The complainer that no-one likes to hang out with isn’t cool just because he thinks he is.

I don’t even care if it’s for the money and yields nothing but uninvolved live sets of old material.

I want this to happen so much.

…actual intent. (accidentally deleted the end of my comment before posting)

iNot a big fan of “Better” but I really dig “Electric”; it has a good build. Have to agree with the above commenters though, definitely need a name change.

He’s right about the fact that Spotify is not a fair system. That’s the shittiest thing about the music industry right now. Not piracy, but how financially fucked artists are, by their labels.

There needs to be a system in place exactly like iTunes or like Spotify, except labels don’t get 95-99% of the profits. I would buy the shit out of that music.

“North American Tour” aka “American Tour ft. Vancouver”