We did this one a bit dirty. I'm not a huge Lizzo fan, but a relatable bop is a relatable bop. I am too fine to be feeling this stressed out and yet I am constantly this stressed out... What was I talking about again?
About Damn Time is ok but it’s so, so watered down and bland. It is a wholly unexciting release, especially as a lead (though not out-right awful like Rumours was). The Purple Disco Machine should have been the official version because that one hits.
Agree 2 Be Loved should have went out before this, by a fair margin as well honestly.
My problem with About Damn Time is that whenever I hear that pre-chorus I start thinking "what is this interpolating again?" and the answer is - as far as I know - nothing. But it does just sound so distractingly familiar and like another song.
The moment I heard “balussy-ussies” this lost any chance of being taken seriously. I don’t begrudge Lizzo having GP success because she’s objectively talented from everything I’ve seen of her but I’ve yet to love any of her singles and haven’t been inclined to check out her albums. Bye!
I grew fond of About Damn Time after initially thinking it was disco by the numbers; good but forgettable. But there's Lizzo's endearing lyric choices, the great flute bits, etc. that make it very enjoyable. 2 Be Loved is superior though, so I'm content with it being ranked a little higher
I marked ‘Vegas’ down a couple points, as it obviously feels a little lightweight compared to the best tracks on Renaissance and Motomami, but honestly, one of my most played bops of last year and I could’ve happily watched it sail its way into the Top 30.
MOTOMAMI is an album about clashes. It's this clash between the MOTO side of Rosalia with her MAMI side. It sounds a bit dumb, but it somehow makes sense. One side is her harsh, intense side. The other side, it's her softer, vulnerable side. The album, lyrically, is meant to be divided into these two sides. However, some songs intertwine both.
This clash extends past lyrics, but also to the production. "DELIRIO DE GRANDEZA" is a cover from Cuban singer Justo Betancourt. The song is a classic bolero song. The production is a minimalist version of the original song, taking some cues from the original to form a sample, but not the whole instrumental. The first half of the song is a straightforward cover, at least mostly. It's only in the second half where things change.
The song also samples "Delirious (feat. Soulja Boy)" by Vistoso Bosses. A bit of an unexpected sample for a bolero song, yet... somehow... Rosalia makes it work. This is one of those things that I really appreciate about this entire album. It's how, on paper, these ideas sound absolutely insane and really should not work. Despite all odds, Rosalia creates something special. This song is an example of that.