Ginny Blackmore – Bones

Her Wikipedia page likes her though…

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[4.12]Daniel Montesinos-Donaghy: Throughout “Bones,” it is obvious that Blackmore is aiming for an unvarnished and emotionally engaged performance. However, she stretches lyrics out across entire measures as if she is waiving her refusal to edit. Notated from the first verse: “It sucks. Being a woman. Being in love, with an unkind man.” The words, stylized and stilted, never find an appropriate rhythm. Her inability to gauge when to not blare her tales helps little. There is an interesting take on the spoiled-romance song somewhere in “Bones,” with Blackmore’s inventory of expected emotional and physical rituals. What, she asks, happens in absence of these rituals? Are they really needed to act out “a woman’s dream?” One hopes she makes this song again in the future, albeit more taut and less word-drunk.
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Iain Mew: “Why you wanna watch the set when I’m lying next to you in your own room?” — ah, here we go again! If you loved or hated “Video Games” there’s a whole lot to chew on in this tale of a one-sided relationship. Between “Serve your ass with steak and beer/Baby that’s love/Baby that’s real” and ending the song with “It’s a woman’s dream”, Blackmore even has Lana Del Rey beaten for regressive cluelessness/trolling (choose as you wish). Elsewhere, things get a little odd. She delivers “I put a brush through my hair for you” as if it were “I’d jump in front of a train for you.” Then she sings, “All I’ve ever wanted was for your damn arms to wrap themselves around me and say…,” her man’s arms now separated from his body and speaking to her. It makes a kind of sense in context, since the song holds the boyfriend’s body and affirmation of her beauty far more important than anything else about him and leaves him even more thinly sketched than the equivalent in “Video Games.” The difference is that “Video Games” thrived on the contrast between its relationship’s obvious dysfunctionality and the song’s dreaminess, but for all the oddness in “Bones,” it lines up too well. Its hollowed out R&B is engaging, and it features one great moment where the music drops away to leave multi-tracked vocals, but it doesn’t offer a reason why she hasn’t already given up and written what would end up being a much better breakup song.
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Anthony Easton: Her voice is solid, and it’s soft enough to suggest weariness and avoid the kind of wispy passive-aggressiveness that marks much work like this. Some good lyrical details, but the storytelling can be murky in places. Taking note of her name to pay attention to what comes next.
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Britt Alderfer: Ginny Blackmore has obviously got the vocal chops but this song is thoroughly boring and the romance sounds like indentured servitude. I wouldn’t have wasted a song on the lout. But around the 3 minute mark she goes into a jazzy little breakdown, the most interesting part on the ballad by far, and I got visions in my head of that being unleashed for the entirety of an R&B track with good production. I even trawled through the couple of tracks on her Soundcloud. Not yet, but here’s hoping.
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Alfred Soto: So impatient to drop lines like “It sucks being a woman in love with an unkind man” on the listener’s lap that she’ll hurry through filler and transitions, Blackmore gives the impression that her hold on sanity is as tenuous as her command of performance. The production’s electronic overtones are the pop equivalent of Gwen Sebastian’s “Suitcase.”
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Katherine St Asaph: Nope!
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John Seroff: “Halo” for juggalettes.
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Brad Shoup: If any of these male pop-music constructs performed an empathic creative writing exercise, it’d sound like “Bones”. There’s a fair amount of dissociation here: arms act on their own, two lovers are two sacks of bones. The verses work the melodic steps of MS MR’s “Hurricane,” a tune I was crazy about until I realized it was the “Halo” effect. The show really belongs to Blackmore, who sounds like first-album JoJo: the rage is a practiced thing. Auto-Tune shakes her melisma until something angry falls out, but at that point the song’s done.
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