Quick, before they send him back to jaol…
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[4.10]
Jessica Popper: I find it hard to explain why I love Fugative. Maybe it is because Blazin’ Squad’s surprisingly excellent recent (failed) comeback single left me feeling positive towards them, and Fugative is basically a one man Blazin’ Squad for 2010. “Bad Girl” isn’t as catchy as his last single, “Crush”, but it’s light and fun and most of you will probably hate it so I feel obliged to fight his corner. Then again, “you know you like it when I treat you bad girl” isn’t exactly the best example to set for his teenage fans…
[7]
Hillary Brown: Call this responsibility-pop. Wouldn’t you be thrilled if your daughter were listening to songs that expressed a desire that young women behave themselves rather than learn to p-pop? Plus it’s super cute.
[7]
Anthony Easton: I inherently distrust any musician who has a logo that seems to have been designed to look fresh and fun by a board somewhere near Madison Avenue.
[6]
Jonathan Bradley: Chav Bieber. No thanks.
[2]
Erick Bieritz: After a long hard slog through the ’80s and ’90s, UK rappers pulled themselves up by their grimy garagey bootstraps to make some legitimately good music in the middle of the Oughts. But all that progress is easy to forget when listening to Example’s previously reviewed “Kickstarts” or Fugative’s sickeningly weak turn on “Bad Girl,” where the only verbal idiosyncrasy seems to be his over-enunciation of every verse’s final syllable. Admittedly the United States has loads of bad pop-rap of its own, but listening to this still leaves foreigners wondering if England ever really moved on from the bad old days of “Wham! Rap”.
[2]
Martin Skidmore: I guess he’s going for the Chipmunk market, and may just get some of it. The bright keyboard swirls lift the energy a bit, beneath his strong (if not terribly nimble) rapping, and the chorus is fairly catchy. His intonations are a bit weird in places, as if he is faking an accent, but this is likeable and lively enough.
[6]
John Seroff: Not only does this suck, it sucks in a totally generic way.
[2]
Doug Robertson: This is sub so many other acts that he’s been forced to evolve a form of bioluminescence in order to see exactly what’s happening in the murky, dank and dark depths of unoriginality that he’s chosen to call home.
[3]
Jonathan Bogart: The bubbly beat and gliding AutoTune from Chris Brown’s “Forever” (one of the drop-dead pop classics of the last twenty years, no argument brooked), but none of the precision heartbeat pacing or joy of flight. He’s a friendly enough rapper, but the ho-hum would-be-misogynistic-if-it-could-be-arsed-to-be-anything content just ain’t there.
[4]
Alfred Soto: YO DJ PUMP THIS PARTEE
[2]