Popular omarion songs
(“July Flame” is on her own label, Raven Marching Band Records. On this album the sonic experimentation is a little more modest than on her previous two, “Saltbreakers” and “Year of Meteors,” which were released on Nonesuch.
(In another song, “When You Give Your Heart,” love is proffered as “wires, feathers and clouds” in other tracks you’ll find “hornet rain,” “blood inside the maple tree” and “ashes of a secret heart/falling in my lemonade.”)
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It’s full of layered folk and indie-rock bucolia and plain-spoken but stretchy-thinking language, wherein everyday energies or objects transubstantiate into other, metaphorically richer ones. Veirs’s new record, “July Flame,” named after a farmer’s market peach. You almost want to run your hands across it and feel the nicks in the wood grain, or order it off the appetizer menu in your town’s new warehouse-district restaurant run by a ruddy-faced genius with a beard. The song begins with a finger-strummed nylon-string guitar, takes on horn-section harmony over wakeful rhythm and piano chords on every beat, and finally graduates to sumptuous pools of pedal-steel guitar, Neil Young in 1971 style. “Honey wax/melt it down/make your heart molten somehow,” sings the Portland, Ore., singer-songwriter Laura Veirs in “Summer Is the Champion,” drawing out her vowels cleanly. LAURA VEIRS “ July Flame” (Raven Marching Band) The otherwise lovely “Speedin’,” Omarion’s most convincing song here, takes its car imagery a little too seriously: “I called AAA/They said they on the way.”įortunately Omarion has good taste in collaborators: the young Watts rapper Jay Rock makes “Hoodie” sturdy, and the ubiquitous Gucci Mane turns in a dizzying verse on “I Get It In.” A nimble, bouncy number full of bullet-quick snares and stabbing horns, that song has become a minor hit, but it’s still a reminder of paths not taken: the original version, which circulated on the Internet last summer, featured Lil Wayne. Clunky lyrics are everywhere, undoing some of the progress Omarion has made.
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Clunker title notwithstanding, Omarion responds with zip and humor: “I bet she’s out with what’s-her-name/The girl that doesn’t have a man.” On “Code Red,” over blaring horns, he alternates between mutterings and gasps.īut he can’t dodge a groan-inducing simile “We stopping them/Like cop cars” one of many that litter this album. “I Think My Girl Is Bi,” produced by Maddscientist, has the digital pop of the RedOne-produced tracks that have helped make Lady Gaga a phenomenon. Likewise the best songs on “Ollusion,” Omarion’s first album in four years not counting “Face Off,” his underappreciated 2007 collaborative album with Bow Wow are the noisiest and, by extension, the most demanding. He’s been best when producers have molded him to fit their needs, as on the 2006 single “Ice Box,” on which Timbaland pushed him toward nervous desperation. Since the split of the R&B boy band B2K, of which he was the star, he’s struggled to land on a style of his own. Omarion’s voice is slithery, not deep enough for truly felt confessional nor light enough to tease. The new version, called “BedRock,” became a smash. “Girl You Know,” a song he recorded with that crew, was done over, with Omarion’s hook replaced with one by the tender R&B singer Lloyd. By August he was out, allegedly by mutual consent. In June he signed up to be a part of Lil Wayne’s Young Money Records. Last summer was a tough one for the R&B singer Omarion.