Top positive review
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...and on the 8th day, God created RedOne:
on November 5, 2011
I knew this was RedOne behind the board here, man... I just KNEW it. It's getting to seem like everything truly excellent (and new) in production these days is coming from RedOne -- and his creativity behind the board is on full display, here. RedOne isn't playing around anymore, that much is for sure: he's hunting for some monumentally massive numbers within the industry, and by the sound of this, he's going to get them.
1. I love the atmospherics "pushing" the song here. Long a feature in Euro-trance, I have wondered for ages when somebody would grab the concept and knock a single out of the ballpark with it on the US chart. Call this "propulsive house" if you like, but there's a bit of "propulsive mariachi" at work here as well, if you ask me. I don't know if there's even such a thing as "propulsive mariachi," but if there is, then THIS is what it sounds like; I honestly thought this might break into 9/10th's time and go into a "flamenco house" at the break (there's no such thing as THAT either, but hey, feel free to sue me if it makes you feel any better). Using the synths as practically a separate drum track is LONG-overdue for use in a mass-market US single; this really should have preceded ON THE FLOOR in the initial push at radio for the album (it is slower, though... my ears have it at 120 BPM, while ON THE FLOOR strikes me as 130-ish (BPM)). I can kinda tell that you wanted to use higher-pitched tones for the bass-line here, while using the low end for traditionally higher-pitched melodic elements -- but I'll be damned if I can point to just where I think I hear that. One of these days you're gonna reverse them for real, and it's gonna be a MONSTER in club-land.
2. Lopez's voice here is in fine form -- she sounds, to me, sharper... almost as if she's naturally in F (which she ain't). A part of that, of course, comes from the contrast against the key used here: my ears have this in E (minor), so Lopez here sounds sharper (by comparison); still, what I think I hear from her does sound true -- i.e., it wasn't done electronically... she does, simply, sound better... is what I'm trying to say. The vox here are sharp, energetic, and focused. RedOne is not only an Einstein behind the board, but he also gets the best, vocally, from Lopez (in my opinion, anyhow) in a good long while.
3. All the usual good stuff applies, here: it's totally club-ready as-is, ringtones galore can be heard within it, and the re-mix potential is BEYOND massive. The (rapidly growing) Latin market is properly nailed (singing a few lines in Spanish towards the end feels absolutely correct), while the record still maintains a solidly mainstream US focii. I love the mariachi-sounding keys... and yeah, I know I already said that. The hook is ROYAL, man... the chorus is an instant earworm. The final result is MAJESTIC.
You brought out the best from the talent in front of you, and it's really a truly exceptional record. This is what a producer is supposed to be, folks: RedOne, YOU TOOK LOPEZ TO A PLACE WHERE SHE EXCEEDED HERSELF.
5 stars, all around.
Simply beyond massive.