It can remind you both of a sprinter determined to prove that no record is unbreakable and of scenes from fantasy movies, like “Ponyo,” in which a character finds some inner resource and suddenly makes something fly, or changes species. This heightened sense of reality may be why Lil Boosie is so keen to sing the praises of the modest and easily obtainable, as he does, sometimes comically, on “Levis”: “When Bad Azz in Levis, you can call me Brad Pitt.”Īside from anything musical you can say about Tyondai Braxton’s new album, it rates on the scales of human achievement and imagination. On the boastful “Top Notch,” one of this album’s best songs, he sounds like Eazy-E, nasal and clipped. “I’m too real for TV, but now I live on TV/Ain’t dropped an album in two years, and I’m still on TV,” he raps on “I’m a Dog,” which riffs on the 2000 Black Rob hit “Whoa” with a recurring barking motif. “SuperBad,” his second major-label solo album, isn’t nearly as vital as his 2006 breakthrough, “Bad Azz,” but in places he sneaks in a sly rhyme. Almost all his best-known songs “Wipe Me Down (Remix),” “Independent,” the new “Better Believe It” are not wholly his own: he has shared them with other rappers. “Went from a personal pan to a Meat Lover’s/Certified street hustler, I like a lot of toppings,” he raps on his new album, “SuperBad: The Return of Boosie Bad Azz.”įrom Baton Rouge, La., Lil Boosie has been one of hip-hop’s least flashy young stars in recent years, a scrappy rhymer with a deliciously odd, whiny voice. “ SuperBad: The Return of Boosie Bad Azz” And the songs stay bright, friendly and generalized yet heartfelt, awaiting the singalongs they invite in Ms. Furtado often overdubs herself as a backup girl group. The music uses all the technology it wants programmed beats carry most of the arrangements, while Ms. Furtado’s own sensibility is never eclipsed. “Como Lluvia” (“Like Rain”), written and sung with the Dominican superstar Juan Luis Guerra, has the lilt of Dominican pop-bachata, while “Fuerte” (“Strong”) is almost techno-įlamenco, with an arresting guest vocal by the Afro-Spanish singer Concha Buika.īut Ms.
Venegas and the Spanish rapper La Mala Rodríguez, splits the difference between reggaetón and cumbia rhythms “Vacación” is closer to straightforward cumbia, with Ms. “Bajo Otra Luz” (“Under Other Light”), written by the Mexican-American singer Julieta Venegas and featuring Ms. Furtado and her collaborators treated this album as an opportunity to try pop versions of regional styles and to work with some of Latin pop’s leading figures. In “Manos al Aire” (“Hands in the Air”), over choppy acoustic rhythm-guitar chords, she tries to defuse a lover’s furious temper tantrum in the electro-pop “Suficiente Tempo” (“Enough Time”), an overworked wife and mother insists, “If we had enough time, I would love you constantly.” “Mi Plan” is a collection of love songs, requited or wishing they were: “Being happy is my only plan,” she sings in the peppy “Mi Plan,” which juggles Latin jazz and synthesizer arpeggios and has guest vocals from Alex Cuba, the Cuban-Canadian songwriter who collaborated with Ms. Furtado’s slightly nasal, perpetually girlish voice, her ease with collaborations and her ear for a hook. The only constants in a blithely unpredictable career are Ms. Furtado’s fourth album and third direction shift, following her electro-R&B album (“Loose,” produced by Timbaland, in 2006), her Portuguese-ĭiaspora statement (“Folklore,” in 2003) and the merger of pop tunes and hip-hop beats on her debut (“Whoa, Nelly!” in 2000). By mysterious coincidence or perhaps to maintain some cosmic pop equilibrium the Portuguese-Canadian songwriter Nelly Furtado has decided to put out an album of supremely catchy, hemisphere-hopping Spanish-language pop, “Mi Plan.”
Has pop started some unannounced cultural exchange program? Shakira’s next album, “She Wolf,” features English lyrics, electronic club beats and Auto-Tune robotics.
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