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Like the rest of his new album “Ciclos” (Top Stop), it’s featherweight in the best way. The Nicaraguan salsa star Luis Enrique has been honing his style for two decades and positively breezes through his suave current hit, “Yo No Sé Mañana,” a lean and muscular vocalist admitting he doesn’t know what the morning after will bring, and maybe doesn’t want to.
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Maybe its song “Come Flash All You Ladies” can play after. Westwick sings too, in the band the Filthy Youth. It should be played over one of “Gossip Girl’s” many fumbled seduction scenes between her Blair Waldorf and the louche Chuck Bass, played by Ed Westwick. Meester, who recently signed with Universal Republic, guests on “Good Girls Go Bad,” by Cobra Starship, singing coyly about chasing the wrong guy. In YouTube clips of the band she sings like a bluesy Joan Jett, works the stage like Courtney Love trying cabaret, and her lyrics “I’m young, and I’m easily bored” she sings on “A.D.D.” are apt for her character, the would-be fashion designer Jenny Humphrey. Momsen fronts the Pretty Reckless, recently signed to Interscope and currently opening for the Veronicas on tour. “You see me in a sea of people/But I’m not equal,” DJ Quik raps on “Cream.” “I’m the prequel/I’m the subject in the peephole.”Īre we certain the music careers of “Gossip Girl” stars Taylor Momsen and Leighton Meester aren’t some elaborate alternative-marketing scheme for the show? Ms. It’s one of several vibrant futurist reads on Los Angeles hip-hop on “Blaqkout” (Mad Science/Fontana/Universal), out next month, though the duo is still keeping an eye on those who’ve followed them. “9X Outta 10” is a small art piece: cyclical raps by Kurupt, a skeletal, jagged soul arrangement by Quik. After all, the Game notwithstanding, where has Los Angeles hip-hop been for the past decade? But rather than revisit worn-out gangster-rap tropes like the rising rappers Nipsey Hussle, Jay Rock and Clyde Carson, these old-timers Quik is an underloved G-funk architect and Kurupt a recharged veteran of the early Death Row days reclaim the scene by looking forward. “We the West,” scream the T-shirts in the video for “9X Outta 10,” by DJ Quik & Kurupt: a riff on DJ Khaled’s “We the Best” catchphrase but also a statement of presence. To wit, the Twitter message she recently posted to the producer Mitch Allan, imploring him to “make a country version of Wanted!!! Country stations want it!” But can she go home again? James knows getting embraced by the home crowd would be nice too. James’s own step routine and tweaks Dem Franchise Boyz’ 2004 hit “White Tee,” is perhaps the first white-girl country-rap song. The clever “Blue Jeans,” which uses a beat drawn from Ms. And while we’re mixing, why can’t it be hip-hop as well? “Cowboy,” written with Jamey Johnson and Randy Houser, has snappy snares and puckish fiddle. James, whose self-titled debut (on Mercury) is due in July, is asking. If Nashville can go pop, why can’t pop start out a little bit Nashville? That’s what the music of Ms.
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Here is what Taylor Swift hath wrought: “Wanted,” the debut single by the Georgia-raised, Nashville-based Jessie James, is feisty shampoo-commercial pop save for three bars near the bridge, when a country guitar shows its hand. “Don’t want to disrespect you, know I just met you.” What he’s after, as the title of his version explains, is “First Date Sex.” “Baby I’ll undress you from the sofa to the dresser,” he croons in a lovely voice that’s plaintive without weakness. “Girl you know I-I-I/don’t need candles and cake.” Currently approaching the top of the Billboard hip-hop/R&B single chart, it has already spawned bawdy remixes by Red Café and Fabolous, but the most inspired revision comes from the more experienced soul man Trey Songz, who’s not waiting for a special occasion. “It’s your birthday so I know you want to ri-i-i-ide out/Even if we only go to my-y-y house,” he ecstatically stutters on the fantastic single “Birthday Sex” (Def Jam). Kelly the nimble young R&B singer Jeremih clips his lines short like a rapper and writes bedroom songs that verge on parody.