Heart and beat

David Guetta delivers the same ol’ dance shtick while Chad D surprises

RICH LOPEZ  | Staff Writer
lopez@dallasvoice.com

………………

1 out of 5 stars
NOTHING BUT THE BEAT
David Guetta
Capitol Records

……………….

DJ and producer David Guetta is smart at handling hip-hop and rap artists on top of dance beats. He creates a flow that is easy to dance to and the songs aren’t anything more than a party in the space of three to four minutes. But that formula repeats itself in Nothing But The Beat, which shows no real imagination.

Nicki Minaj and Flo Rida bring their talents to the opener, “Where Them Girls At.” The beat is distinctly Guetta but that formula is already showing. Minaj comes up short here, ripping off a TLC flow and playing more as an accessory.

That changes with “Turn Me On.” Minaj goes into Rihanna territory, singing and rapping. There’s no surprise that she can carry a note, but she proves she can hang with any singer out there. This ends up being one of the better tracks.

With “Sweat,” Guetta re-imagines Snoop’s “Wet” single against a sampled beat to amazing effect. Guetta shines here — not with hip-hop generics over a disco beat, but working magic with Minaj and Snoop to create something exciting. His innovation is off the charts.

It’s too much for the last track to save the album, but it’s a glorious attempt. Guetta teams with Sia on “Titanium.” Collaborative lyrics elevate this song to a higher level than any previous track, as Sia brings her clever writing to the table and ends up with as much a voice in this song as Guetta does.

But so much is wrong with Beat that it ends up being a beat down. What Guetta is good at is producing listenable disco. It’s never too obscure or techno, but it’s always the right sound to get a good jog to or sweat it up on the dance floor.

His collabs with Taio Cruz, Chris Brown and Usher are fine but forgettable. He handles Cruz and Ludacris well in “Little Bad Girl,” and Brown and Lil’ Wayne’s skills make “I Can Only Imagine” work as a song and not just a mix. Although Guetta did help Usher lose a lot of R&B cred on “Without You,” it’s embarrassing to hear Usher reduced to this Coldplay/Keane/OneRepublic styled track. This is where Guetta’s mistakes happen. He keeps masturbating to hip-hop and R&B stars, and he’s missing vital aspects that would make his own songs sound better.

He remembers his gay boy listeners with equally unimpressive diva-esque tracks save for Sia. You would think that wouldn’t happen with Jennifer Hudson on “Night of Your Life,” but the song is amateurish and never lives up to her talent. Guetta gives Jessie J the chance to shine in “Repeat;” she doesn’t.

When Guetta isn’t embarrassing himself, he goes way obnoxious on the Will. I. Am track “Nothing Really Matters,” which is more of a yawner than the Black Eyed Peas’ last album. And “I Just Wanna F” with Timbaland and Dev is an exercise in stupidity.

Even with the stronger tracks, this Beat is a dud.

………………

2.5 out of 5 stars
THE HUMAN LINK
Chad D
Independent

……………….

Chad D is an indie musician based out of New York who’s 2011 release The Human Link garnered him two OutMusic Award nominations. He’s party pop and rap with a message — a whole lot of them. But his ambition makes up for the rough edges.

In the first four tracks, D lays down energetic beats with different stories. “The Story Begins” opens the album in high-energy synth mode with one of the deepest bass beats. The lyrics could graduate a level, but D throws in surprises such as a guitar solo that comes out of nowhere.

“The Human Link” and “Ask and Tell” lean more to his rap stylings, which need some fine-tuning. In “Link,” he’s choppy, but gets more fluid with “Ask.” I don’t even think he’s trying to be Eminem, but he’s clearly the white-guy rapper and a much better singer. “Ask” seems to be the epitome of his intentions with an in-your-face tune about gay issues. But the platitudes are a bit obvious which makes the song miss its mark.

It would be easy to dismiss “T.G.A. (The Gay Anthem)” as drivel. He raps quickly over what sounds like a sampled “Under the Boardwalk” beat. His Michael Jackson “whooos” are misguided and yet he creates a reliable hook and runs with it.

He hits his stride in “Ocean Blue Love.” The song is crazy catchy and his vocals overlap with note maturity. While I don’t mind his rapping so much, “Ocean” is proof that vocalizing is a better forte for him. He could still refine his voice, but he’s more emotive when singing.

D lost me at the title of “Life is a Ride,” which reminded me too much of “Life is a Highway,” a song I loathe. I muddled through rap stanzas like dance with me/ touch my body/ getting’ naughty but OK, my head bopped along. The chorus burst in and Chad D pulled me in. I don’t get into intentionally cheerful songs but the chorus earwormed its way into my head and I was fine with that.

Chad D isn’t afraid to give his strong queer perspective. As he matures, his songwriting should become more refined, but it’s his heart that drives The Human Link and he’s put all of it here.

This article appeared in the Dallas Voice print edition September 23, 2011.

—  Michael Stephens

Best Bets • 12.31.10

IMG_0107Friday 12.31

Chortling in the new year
You’ve chortled, don’t lie. Backdoor Comedy offers a funny approach to your midnight plans with its New Year’s Eve Extravanganza. The lineup includes BET’s Chris Brown, Emmy-winning funny lady Linda Stognar and headliner Paul Varghese who got his start in Dallas but went on to the big time with gigs on Showtime and Comedy Central. Chortle away.

DEETS: Backdoor Comedy, 8250 N. Central Expressway. $27–$43. 8 and 10:30 p.m. BackdoorComedy.com.

Sunday 01.02

Drag royalty says goodbye to Dallas
After 18 years of performing, Wayne Smith will do a final show before saying farewell to Dallas. Smith is most famous for his spot-on impersonation of Cher. This month’s Drag Brunch isn’t just about the mimosas and frittatas, it’s about saying goodbye to Smith who’s become legend in these parts.

DEETS: Dish, 4123 Cedar Springs Road. 11 a.m. For reservations call 214-522-3474.

Tuesday 01.04

Waiting for that schwanzstucker?
We hear it’s huge, but that was from the movie. Will the musical version of Young Frankenstein be as funny and have all the sexy innuendo? With Mel Brooks still behind it, we’re betting yes.

DEETS: Winspear Opera House, 2403 Flora St. Through Jan. 23. $30–$98. ATTPAC.org.

This article appeared in the Dallas Voice print edition December 31, 2010.

—  Kevin Thomas