Working the stone, I'm constantly sucked into New Country and Pop Radio (101 included), and somehow always find the bright side of a good song. You could play Gordon Lightfoot all day and I'd be a happy man -- good songs. That makes me a constant sucker for pre-fab top forty. Constant love for current benders that might just have a chance at becoming something playing out of windows come summer. Hopes like Santogold and My Morning Jacket's new one (amazing interview and live show download here), plan for an interesting season. I still however give the heavyweights the benefit of the doubt. Mariah Carey's "Touch My Body" is irresistible if reheated and Madonna gives into Timbaland for a single that could potentially work well in a roller rink. I'm intrigued though by Ashlee Simpson, yup, Bittersweet World is a painstakingly produced put-on of a career-gone-haywire that most seem to care less about. Her long struggle to hybridize everything from Amy Winehouse (on the title track) and Prince (the bumping "Boys") actually paid off, even if she had 10% to do with it (there's a mighty list of collaborators here, like Disney imagineers). I'm guilty of falling for it (you missed the Britney, jump onboard). The album is a brilliant Mechanical Animals reanimation, with a different type of androgony (she's sexy, but willing to just kick it and listen to records), less Gwen Stefani harikuju soft-porn and instead Cindy Lauper She's So Unusual, atop a rubik's cube singing "I can't here me now..." (???) A puppet, granted, playing the part quite convincingly. Her non-voice could be replicated by machines, but the plastic surgery and precise beats make her pop robotic enough. Hey, I'm also addicted to American Idol.
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