311-Creatures(up 2 positions)
A while ago it seemed that 311, whose biggest hit was 1995's Down, was fading away, making pleasant but predictable and unimportant music. Recently they've shown some staying power, producing decent variations on their stoner ska rock theme. Last year's mellow, blissed out Amber, from their From Chaos CD, was 311's biggest hit in a while. Creatures, from the new Evolver CD, is another likable single that has 311 rocking a little harder than usual. As on their best songs, 311 keep things interesting on Creatures by mixing the band's disparate elements without overemphasizing any of them. Nick Hexum's loose, spacy croon has a smooth charm but on its own it can be vapid. So Creatures combines Hexum's voice with Tim Mahoney's tough, tight guitar. Creatures also has bursts of fun, silly synth effects, S.A. Martinez' concise, effective rap, Chad Sexton's hard, crisp drumming and good, full harmonies. The result is an enjoyable free flow. Creatures never gets stuck. It varies its flavors as it moves inobtrusively from section to section. Creatures isn't particularly great or ambitious but it is an easy, good time. Creatures' lyric is fairly silly. It's about the pros and cons of being energetic and living an exciting life and the fun of going nuts and having a volatile personality.
Simple Plan-Addicted(up 7 positions)
Addicted, the second hit from the Montreal band's No Helmets, No Pads ... Just Balls CD, is one of the more annoying of the recent spate of poppy punk influenced hits. It's also one of the more successful one, assumedly because it's simple enough that preteens can easily get it. Addicted's big power chords and leisurely pace make it easy to sway to. Simple Plan's idea of a joke("I'm a dick, I'm addicted to you") probably goes over big with the junior high set. Pierre Bouvier sings with a bratty, childlike voice. Bouvier whines with youthful self pity "do you think I deserve this?" Addicted is about not being able to get over a girl who left even though he tried to make her happy. Addicted is harmless and I suppose it's only meant to be stupid fun but it's mostly just stupid.
Velvet Revolver-Set Me Free(up 18 positions)
Velvet Revolver is a new band featuring Scott Weiland and Slash, Duff McKagan and Matt Sorum from Guns N Roses. Weiland says he's going to keep working with Stone Temple Pilots but will also make a full length CD later this year with Velvet Revolver. Set Me Free is on The Hulk soundtrack, which otherwise consists of pieces of Danny Elfman's score for the movie. Set Me Free is a decent rocker that's somewhat reminiscent of Guns n Roses' catchy but hard rocking music. Set Me Free's lyric has Weiland's typical spacy vibe. Weiland sings about a woman who operates and motivates "on synthetic fuel" and asks her to "set me free 'cause I think you need my soul."
Busta Rhymes featuring Mariah Carey-I Know What You Want(down 7 positions)
I Know What You Want is on Busta Rhymes' It Ain't Safe No More CD. I Know What You Want is not particularly distinctive. It's another smooth R&B song with a star cameo and a bunch of singers doing a verse a piece. But I Know What You Want is well made and appealingly smooth. Members of Flipmode Squad, who have appeared on Rhymes' records for years, don't do much with their verses and get too hung up in the end on dropping names of expensive products. Mariah Carey's whispery contributions to the chorus and a cliched bit of showing off on her "I will climb a mountain high" verse are kind of silly. I Know What You Want's surprise is Rhymes' sweet, controlled vocal. I've always thought of Rhymes(born Trevor Smith) as an over the top, in your face, kind of obnoxious performer. His singing on the catchy chorus and his verse(the one that starts ssh, mommy listen) isn't remarkable but it is likably unassuming and matches the lyric about understanding the woman who's stood by him and wanting to do what he can for her. I Know What You Want's music is innocuous but pleasant with a repeated strum effect and synth beeping that are restrained enough that they aren't too annoying. I Know What You Want passes by easily and with some charm.
Nickel Creek-Smoothie Song(unchanged)
Nickel Creek are a bluegrass group from San Diego. Their modern sensibility has given them supporters beyond the genre's usual fans. Contemporary bluegrass queen Alison Krauss produced Nickel Creek's two CDs. Krauss has succeeded by giving her music a country folk flavor. Like Krauss, Nickel Creek show that they respect bluegrass history and can play traditional instruments and are also aware of other genres. Moves like covering Pavement's Spit On A Stranger show that Nickelback's musical tastes are even broader than Krauss'. Nickel Creek's music is very charming. It's smart and well played and has a sweet modesty. The Smoothie Song, from the This Side CD, is an instrumental written by Nickel Creek mandolin/banjo player Chris Thile which features the interplay of the group's principal players: Thile, fiddler Sara Watkins and guitar player Sean Watkins.
Korn-Did My Time(up 13 positions)
Did My Time is in the movie Lara Croft Tomb Raider: The Cradle Of Life but it's not on the movie's soundtrack. It's supposed to be on Korn's next record, which is due by the end of the year. Apparently, 2002's Untouchables, Korn's last record, was a disappointing seller and not a fan favorite. So the band is back in the studio promising that the new record will be more rocking and "not so overproduced." I've admired some of Korn's work for the band's ability to make music that rocks and has interesting atmosphere. But I'm certainly not a fan. Their music often seems silly and overdramatic. If Did My Time is a sign of what's to come, it looks like they're getting stupider and goofier. Did My Time is the same old tale of self loathing that Korn and other theatrical hard rock bands have done for years. It sounds like self parody when Jonathan Davis sings "I feel the anger changing me." He also intones familiar lines like "realize I can never win", "feel like I have failed" and "my mind is laughing at me." Davis' singing, a combination of barking, roaring and whining, is awful. Davis does a good job of communicating his agitation but it's unpleasant listening. Did My Time's music and playing is competent but it's not original or interesting. Hard rock guitars and drums crunch under Davis' vocal and create a typical dark atmosphere.
Smile Empty Soul-Bottom Of A Bottle(unchanged)
Bottom Of A Bottle is on the self titled CD by the Santa Clarita, CA band. Smile Empty Soul singer/guitarist/songwriter Sean Danielsen has a good grasp of the kind of sleek hard rock that's crossed over to the pop charts. Bottom Of A Bottle has a chorus, with Danielsen ranting over a big guitar sound, that reminds me of Linkin Park's In The End. But Bottom Of A Bottle is pretty unpleasant stuff. It's presumably meant to be a cautionary tale but the "I do it for the drugs" hook is still pretty nasty. The glib, showily harsh quality of Danielsen's singing undercuts any sympathy the song creates for its troubled protaganist. Danielsen sings that in a "scared and lonely" life, drugs and alcohol make him feel alive and loved.
Guster is a Boston band that developed a large following playing lots of gigs with two acoustic guitars and bongos. The guys have since gone electric but they've maintained a simple upbeat sound. Amsterdam, from the Keep It Together CD, is a strong candidate for feel good song of the summer. It's lightweight but very charming. On Amsterdam, Guster remind me of the jangly, perky guitar bands that sprung up in the mid 80s after REM had their initial success. It rides forward easily with a variety of vigorous but smooth strums, a bit of jangling and a crisp, clicking beat. Amsterdam has a pleasant, shiny sound. Ryan Miller's voice isn't amazing but it is warm and good natured. Amsterdam lacks edge and it's kind of saccharine. It does have a likable, clean cut sound with a nice, positive energy. While Amsterdam has a jaunty sound its lyric, written by drummer Brian Rosenworcel, is quite nasty. Amsterdam's giddiness apparently reflects the joy of a spurned lover at the prospect of finding revenge in a nasty letter.
Thalia-I Want You(up 11 positions)
Thalia(born Ariadna Thalia Sodi Miranda) is a Mexican music and tv star and the wife of Sony music chairman(and Mariah Carey's ex-husband) Tommy Mottola. I've read that Thalia has a good voice but it's hard to tell from I Want You, the first single from Thalia, her first mostly English language record. Thalia gets the Jennifer Lopez treatment on I Want You, which was produced and cowritten by regular Lopez collaborator Cory Rooney. The blueprint generally guarantees a professional, pleasant, innocuous sound and that's the case on I Want You. I Want You has a breezy feel. It's well made and likable with a perky synth riff and crisp beat. I Want You has the obligatory star cameo presumably meant to add cred or familiarity. At least it's not Ja Rule. Fat Joe croaks a good natured, unmemorable rap. Thalia doesn't project the strong, distinctive personality of fellow Latina star Shakira. Thalia's vocal is charming but it sounds like it was flattened then enhanced in the studio. Especially in the context of the fairly dopey lyric, she comes across a bit empty headed. On I Want You, Thalia plays the Ashanti style adoring girlfriend asking herself what she did to deserve such a special man, complimenting his "sexy smile" and body that drives her wild and trying to convince him that "this love affair would be good for you and me." Trying to make Thalia seem less pathetic, Rooney has Fat Joe saying "I feel the same way."
Justin Timberlake-Rock Your Body(down 8 positions)
Rock Your Body, the third hit from the Justified CD, is a mindless but fun dance song. It's Justin Timberlake's best single so far. Timberlake and writer/producers The Neptunes(Pharrell Williams and Chad Hugo) have worked out a partnership sure to produce hits. The teen idol provides the hunkiness and Williams and Hugo bring the great grooves. Following Like I Love You, where Timberlake was encouraged to do a slavish Michael Jackson imitation, Rock Your Body seems to comfirm that Williams and Hugo had Jackson in mind when they wrote and arranged songs that made Justified. Rock Your Body particularly brings to mind the great dance beats and chunky groove of Jackson's Off The Wall. Rock Your Body's big bass and scratchy guitar also resembles the sound, made by Bernard Edwards and Nile Rodgers on songs like Good Times, that was borrowed in tons of dance songs(even Queen's Another One Bites The Dust). Timberlake's voice is just one of the parts that Williams and Hugo used to construct Rock Your Body. Timberlake's vocal is largely unremarkable and nearly unnoticable. It's often hard to know where his singing ends and the very effective backing vocals begin but, at least, Timberlake, doesn't get in the way of the groove. Credit for Rock Your Body and its easy, likable flow should go to its producers. Rock Your Body's lyric is basically Timberlake's request to a girl to not walk away and instead give him a chance to seduce her on the dance floor.
Ziggy Marley-True To Myself(down 1 position)
Dragonfly is Ziggy Marley's first record without The Melody Makers, the band he had with his sisters and brother(though sister Sharon does backing vocals). Ziggy made Dragonfly with a LA bunch of studio pros. He produced Dragonfly with Ross Hogarth, who's enginereed dozens of records, and REM producer Scott Litt. True To Myself's sound is smooth and professional but it does have a vibe that undeniably connects with Bob Marley's work. Ziggy, now 34, has a relaxed singing style that, like his father's, also conveys substance and confidence. True To Myself has the simple, positive, universal message and immediate familiarity and catchiness of Bob Marley's hits. True To Myself easily rolls forward as horns create a joyful mood and David Lindley and James Harrah strum and trade guitar lines. The downside is that True To Myself isn't particularly distinctive. True To Myself has the basic, concise form of Bob Marley's reggae classics but it doesn't have much appeal beyond its classic form. True to Myself is so laid back and reminiscent of other songs that it doesn't really grab your attention. True To Myself's lyrics are pleasant but a bit insipid. He shares pearls including "I can't make you happy unless I am" and "the truth it never changes."
In My Place and Clocks, the first two chart hits from Coldplays A Rush Of Blood To The Head CD, were intricate and breathtakingly beautiful. The Scientist isnt as remarkable but its good. Once again, in a world of big guitars and drum machines, its refreshing to hear a song on the radio thats thoughtful and musically low key. On The Scientists first verse, only Chris Martins piano accompanies his voice. The uncluttered sound accentuates Martins sweetness as he tells a woman how lovely you are, reflects on the shame of breaking up and wishes they could go back to the start. Strings, Jon Bucklands strumming and Will Champions drums come in but the sound remains simple and unshowy. The result is likable and poignant. Martin has played the sensitive, heartbroken but ever hopeful spurned lover too many times but he is charming on The Scientist. Martins vocal is natural. The fact that he doesnt overplay the songs emotion helps make his sadness appealing.
Sean Paul-Get Busy(down 14 positions)
Sean Paul Henriquez has moved from having dancehall hits in his native Jamaica to international stardom. Get Busy is from Sean Pauls Dutty Rock CD. Pauls loose, goofy rap has its charm. His admonitions for the ladies to shake their booties and get it on with him are harmless. His easy confidence and lack of self consciousness roll over your resistance. But Pauls cocky, lady loving Jamaican is such a stereotype that Get Busy is largely a novelty song. Get Busys saving grace is its infectious music. Get Busy was produced by dancehall veteran Steven Lenky Marsden, who suddenly has two big pop hits. As he did on Wayne Wonders No Letting Go, Marsden used a dawali rhythm on Get Busy. The diwali rhythm, produced by irregular handclaps accompanied by quietly ringing synths, creates a joyful noise and supplies a lot of Get Busys charm. Paul contributes by moving fast and keeping up with the buoyant spirit. Pauls lyric is dopey and innocuous but the musics energy makes Get Busy breezy fun.
Evanescence-Going Under(up 4 positions)
Going Under doesn't have the mediocre raps that helped made Bring Me To Life sound like an odd Linkin Park tribute. Otherwise, Going Under is a lot like the hugely successful first single from the Arkansas band's Fallen CD. Once again, the band is wildly over the top. Shooting for a cold, futuristic sound, Evanescence throw together crunching guitar chords, atmospheric keyboard effects and Amy Lee's overdramatic art rock vocals as well as strings and layers of backup singing. Lee again sounds like a self important, hysterical version of Sarah McLachlan or Tori Amos. Brian Moody's sledge hammer guitar playing is pretty uninteresting and his short solo pretty awful. Hopefully the novelty value of Evanescence's theatrical music is fast ebbing and they're not a harbinger of a wave of female led melodramatic neo grunge bands. Going Under's lyric is slightly surprising. Lee sings about all the pain her lover has caused but also vows that she'll "save myself" and "won't be broken again."
Red Hot Chili Peppers-Dosed(down 4 positions)
I try to stay away from bad critic cliches but the fourth chart hit from the Chili Peppers' By The Way CD really invites me to write things like every time I listened to Dosed, I dozed or it sounds like Anthony Kiedis got a bad dose of something. The bottom line is Dosed is a bore. Dosed has a lot of nice and pretty things but it's really lightweight and Kiedis' vocal is quite awful. Kiedis uses a vague, odd, wimpy falsetto that makes him sound like he feels sick to his stomach. The good parts of Dosed are John Frusciante's smooth, sweet guitar playing and a nice uplifting chorus with good harmonies. Dosed has a kind spirit but the verses are lame and the whole song is very tame. With every song fit for easy listening radio, it becomes more unclear how the Chili Peppers have maintained their image as raucous rockers and why modern rock radio and their older fans haven't abandoned them. Dosed's lyric partly explains the song's melancholy mood. Dosed apparently is about a woman who died after working her magic on Kiedis.
Coldplay-Clocks(down 2 positions)
Coldplay's singles from the A Rush Of Blood To The Head CD sound great in any context but they're especially striking on modern rock radio. Amid angry, testosterone fueled songs, the beauty of Coldplay's music is particularly welcome. Clocks has a wonderful dreamy feel. Strings and a synth provide an airy cushion while Chris Martin plays a simple but insinuating piano line. On some parts of Rush Of Blood, Martin is pretentious or annoyingly meandering but on Clocks, even as the song moves at a leisurely pace that accentuates its hypnotic appeal, Martin's vocal stays focused. Martin's typical sense of yearning works well on Clocks. Martin is apparently singing, as he does on many Coldplay songs, about a woman to whom "nothing else compares" who doesn't want to be with him and about being willing to wait for her to change her mind. He sings "you've put me down upon my knees", leaving him to "beg and plead" and "curse missed opportunities" but seems to retain a bit of hope.
I'm guessing that even some of the millions who stuck with Radiohead for their atmospheric sonic experiments on Kid A and Amnesiac found it trying to find the brilliance among the pretension and obscure experimentation. Hail To The Thief isn't a group of catchy pop songs bit it does have a bit more song form than its predecessors. It's a little closer to Radiohead's first three records, which communicated alienation in challenging but somewhat accessible rock songs. There There is one of the band's most focused recent efforts. It's a fascinating mix of evocative textures that creates a haunting effect. There There starts with Phil Selway's muffled tom toms and clicking beat. Jonny Greenwood comes in with a tense, circular riff then he's joined by Colin Greenwood's solid bass line. Distorted or muted backing vocals pop in and out. One of the worst things about Kid A and Amnesiac was the tendency to deemphasize guitars. Jonny Greenwood and Ed O'Brien's guitars give substance and form to Thom Yorke's meanderings. There There slowly works its way towards a cathartic, chiming guitar riff which clashes with a harder guitar line. Yorke's vocal, of course, is the vehicle that carries There There and most of Radiohead's music. Depending on my mood and its context, I can find Yorke's needy, sensitive tuneful whine beautful or very irritating. Regardless, Yorke's ability to immerse himself in a song is fascinating. There There is apparently a love song of sorts. Yorke sings about "walking in your landscape" and tripping on broken branches. He says "heaven sent you to me" but also warns of sirens "singing you to shipwreck." There There ends with a familiarly gloomy line("we are accidents waiting to happen") but also has a startlingly creepy reference to phantom limbs("just because you feel it doesn't mean it's there") that, coupled with the dislocation in Yorke's voice, is a reminder of Radiohead's gift for original, striking images.
R. Kelly-Ignition(down 5 positions)
Apparently, accusations of having sex with a minor and possessing child porn won't kill your career if you know how to put together good pop hooks. The Ignition remix, from Kelly's Chocolate Factory CD, is a great testament to Kelly's skills. Kelly's vocal quickly darts around the lyric and mixes up speeds to create different moods while staying very cool. The music has the smooth confidence of a soul classic with easy, fluid keyboards and a relaxed handclap beat. Kelly smartly uses backing singers, creating a moment of excitement with their toot toots and beep beeps. Kelly's lyric is pretty awful. The title comes from a charming sexual metaphor promising "to take my key and stick it in the ignition." Kelly's comeons have the usual brags about an opulent lifestyle and compare a girl to his Lexus and a football coach("the way you got me playin' the field"). Luckily, Ignition sounds so good that you don't focus on its silly words.
Eve 6-Think Twicebuy it!
The sure touch that brought Eve 6 hits on their first two records(Inside Out on Eve 6 and Here's To The Night on Horrorscope) has apparently eluded them on the new It's All In Your Head CD. Max Collins does some annoying, cliched self dramatizing rock singing. He starts by slowly and meaningfully intoning every syllable in a style Weezer mocked on their sweater song. The songs shifts to an anonymous chorus with slamming power chords. Then it speeds up a bit with Jon Siebels playing a decent scratchy guitar sound. Think Twice starts to sound a liitle like Inside Out but without that song's intensity. Generally Think Twice lacks Inside Out's energy and excitement. In an inevitable climax, Collins ends up screaming but Inside Out never gets interesting. I find it so boring that it's a struggle to listen all the way through. Think Twice has a pretty unpleasant lyric. Collins partly tries to convince his lady that his love is better than a rival's. But Think Twice is mostly a thuggish warning to the rival that if he touches her "I'll let you feel the burn."
Jack Johnson-The Horizon Has Been Defeated(down 16 positions)
The Horizon Has Been Defeated is on the former pro surfer/filmmaker's new On and On CD. Like his buddy Ben Harper, Johnson backs up his cool, confident style with a mix of various musical sources. On The Horizon Has Been Defeated, Johnson's laidback flow is supported by a soulful groove with a reggae taste. The lyrics feature Johnson's easygoing philosophizing. At 27, Johnson has decided that "as we grow older", "things can go bad" but we're less likely to run away because the horizon has begun to fade and look less tempting. He also muses on a world where "machines become our hands" and reminds us that we're just animals with "fancy shoes" and "too many tools."
Nelly-Shake Ya Tailfeatherbuy it!
P. Diddy assembled tracks from an all star lineup for the Bad Boys II soundtrack. I'm guessing that Nelly didn't sweat too much over his contribution. Shake Ya Tailfeather has the same sprawling, steady, easy but tight form of many of Nelly's singles from Country Grammar to Air Force Ones. Shake Ya Tailfeather is nothing new and it doesn't have much distinctive personality but it is well constructed and it shows Nelly's skills. As on many of Nelly's songs, annoying elements are side by side with likable ones. Shake Ya Tailfeather features the tomahawk chop chant that's irritated fans of teams playing the Braves for years. You'd figure that Nelly, who's always championing his St.Louis hometown, would be loathe to coopt the theme of the Cards' rival. Especially on the first verse, Shake Ya Tailfeather showcases Nelly's considerable rapping talents. He's fast with a light touch, and a lot of presence. With handclaps, synth interjections and a steady flow, Shake Ya Tailfeather's backing track has energy to match Nelly's vocal. The music and Nelly's interjections maintain an appealing feel even when lesser rappers take over. P. Diddy, who does the second verse, isn't as drab and flat as he can be. He keeps the song moving but his confident rap isn't very exciting. It would be nothing without its accompaniment. Murphy Lee from St. Lunatics, who's contributed to Nelly's CDs, does the third verse as comic relief, sharing his love of big booties and grass. It's nothing special but fine. Shake Ya Tailfeather's familiarity made it a big hit but it also is a good example of how Nelly's rapping and music can be irresistable. Even for a Nelly song, Shake Ya Tailfeather's lyric, mostly about wanting to see the ladies dance, is pretty slight. Nelly comes on to a girl then disses her. The rappers say each others names a lot. Nelly says he likes girls of all ethnicities then asks one to "take it off" and "take that ass to the floor."
The All-American Rejects-Swing Swing(up 1 position)
Modern rock radio play put Swing Swing, from the Stillwater, Oklahoma band's self titled CD, on the top 50 for three months early this year. Swing Swing returned to the chart as the latest emo band to charm pop radio. All-American Rejects share a love of a big, basic, upbeat, enthusiatic sound with Jimmy Eat World and other emo practitioners. Swing Swing's mix of crunching guitars and shaggy goofiness brings to mind emo predecessores and godfathers Weezer. Swing Swing adds cheesy keyboards to glossy guitar rock in a way that recalls an earlier generation of bands like Cheap Trick and Split Enz. Swing Swing is a good time. It easily shifts musical focus from a jagged gutar riff to keyboards to a good bass line. Tyson Ritter is appealingly earnest as he intensely yells. On Swing Swing, Ritter admits being devastated by a breakup but puts on a brave face, vowing to find someone new.
Annie Lennox-Pavement Cracks(up 2 positions)
With Eurythmics, Annie Lennox was a playful figure with a good sense of a groove and an ability to work with many different types of music. Since she's gone solo, she's become old and boring, making various kinds of background music. Diva, her solo debut, sold a bunch of records but Medusa, Lennox's cover record, and her new Bare record don't have much of a point commercially or artistically. Pavement Cracks is a mess. It's got someone's idea of a hip, urban sound but it's quite lame. Pavement Cracks starts with overdone atmosperic instrumentation. After a sprinkling of piano, a generic disco beat comes in. There's showy guitar and Lennox does an awful "uh-huh" filled vocal that's supposed to sound streetwise. Pavement Cracks has a core of a sweetness when the music and Lennox's singing soften but, far too soon, Pavement Cracks reverts to mechanical backing and Lennox's vocal again grows cold. The lyric is overly poetic but it does have real sadness. Lennox sings about a world where "love don't show", "my water colors fade to black", "I'm going nowhere" and "my dreams have fallen flat."
Good Charlotte-Girls And Boysbuy it!
Good Charlotte's previous singles were fast punky pop. Girls And Boys, the third hit from the Young and the Hopeless CD, shows that Good Charlotte can make fun, kind of dopey music in different styles. Girls and Boys uses sounds from the shiny pop of the early 70s and late 80s. Girls and Boys is ridiculously catchy. The band keeps a string of hooks coming. Girls and Boys has a primitive sounding keyboard line reminiscent of Gary Numan's Cars. The climactic guitar break is like the one on Rick Springfield's Jessie's Girl. The chorus, with its crunching power chords, has the simple exuberance of a good emo song(e.g. Jimmy Eat World's Lucky Denver Mint). Singer Joel Madden doesn't have much range. His vocal isn't versatile enough to match Girls and Boys' transitions but his basic yelling matches the song's simple, upbeat feel. The lyric is fairly harsh for a perky pop song. Joel sings that girls atttracted to wealthy guys are "losing their souls in a material world." But the cynical lyric hardly detracts from Girls and Boys' lightweight charm.
50 Cent-21 Questions(down 10 positions)
A short time after being "discovered" by Eminem, 50 Cent has reached the kind of success his mentor took years to achieve. In Da Club is one of the biggest hits of 2003. 21 Questions, 50 Cent's second pop hit, reenforces the fact that the buzz and hype that preceded 50 Cent's Get Rich Or Die Tryin' CD was justified. 50 Cent has separated himself from the hip hop crowd with a style that's distinctively laid back and confident. Like In Da Club, 21 Questions has a vocal and backing track that are interesting on their own and work great together. The rap and music both create a good texture. 50's rap is natural and plainspoken but it's also sneakily rhythmic as he snakes around the already twisty track. Nate Dogg(who's worked previously with Warren G, 2Pac, Snoop Dogg and Eminem) does the singing on the chorus. Dogg fits the song's style with a vocal that's smooth but not too pretty. Like 50's rap, 21 Questions' repeated guitar like riff is a little awkward but it's more interesting because it doesn't sound like everything you've heard before. The riff punctuates the end of each of 50 and Dogg's lines, adding a little edge, taking a split second longer than it has to. 50 Cent has amassed enough cred that 21 Questions, which presents him as a kind of sensitive, vulnerable guy, is unlikely to lose him any fans. 50 is simultaneously tough and light hearted even while asking questions that make him seem needy. His soft spoken style makes it clear that 21 Questions is a request for encouragement rather than a jealous interrogation. 50 doesn't just want to know if she would stand by him if he "got locked up" or lost his fancy cars and "flipped burgers at Burger King." He also wants confirmation that she's his "soulmate" and that she wouldn't freak if he wrote her a love letter or "didn't smell so good."