Justin Bieber claims the 14th spot on this week’s Billboard Hot 100 with ‘Yummy,’ the first single from his upcoming album Changes. It has been five years since Bieber’s last album, the well-received Purpose, so expectations are high.
If ‘Yummy’ is any indication, we shouldn’t get too excited. This is a repetitive and nonsensical song, and another disappointing entry in one of the bleakest ‘What the Kids are Listening To’ segments.
DaBaby owns the 13th spot on this week’s Billboard Hot 100 with his track ‘BOP.’ This is the second hit single by the Charlotte, NC, rapper, following last year’s ‘Suge.’
My older daughter has sung DaBaby’s praises, as has President Obama, who included ‘Suge’ on his year-end list of the best music of 2020. So he comes highly recommended by people I love and admire.
Selena Gomez sits jsut outside the top ten with ‘Lose You To Love Me,’ a track that made it to #1 last year.
In the twelfth spot is another Roddy Ricch song, this time a collaboration with fellow Los Angeles rapper/DJ Mustard (whose album features this track). Based on the earlier cut, I have extremely low expectations for this song. Let’s see if it surprises me.
Coming off of her historic night at the Grammys, Billie Eilish has her second top ten hit with ‘everything i wanted,’ the latest single from her lauded debut album when we all fall asleep where do we go.
The previous single, ‘bad guy,’ made it to #1, while this one peaked at #8 and is currently sitting in the tenth spot.
I enjoyed Eilish’s 2017 EP Don’t Smile at Me quite a bit, but I haven’t warmed to this album. It has a few highlights, but too much of it is meandering and shapeless. This song has grown on me with repeat listens, though.
The Random iTunes Fairy chose an Elliott Smith song exactly one week ago, and now she’s back with another.
Hearing those songs back-to-back gives a great glimpse at how much Smith’s sound evolved over the three years between his acoustic self-titled 1995 album and XO, the expansive album featuring today’s SOTD. His Figure 8, released in 2000, went even further down a path of baroque instrumentation and production.
Meet Me In Montauk 