Pink – Try
No idea how the Romans would’ve pronounced P!nk, though…
[Video][Website]
[5.14]
Will Adams: Couldn’t decide on which snappy one-liner comeback worked best, so just bear with me: Well maybe you should try to distinguish yourself more from Kelly Clarkson; similarly, maybe you should try telling Greg Kurstin to not hand you a sonic Xerox of “Dark Side” and call it a single; maybe you should try to pick finished songs that don’t have four bars of instrumental dead space before the chorus, and finally; looks like the only place you tried was on the final chorus, when things finally picked up (and I will concede that that moment is lovely and what earned you most of these points).
[5]
Alfred Soto: When Pink discovered power chords in 2001, I flipped. The thrill up and went after 2006, though. However, I take the title seriously as self-medication but not as manifesto; she’s still muddling through banalities.
[6]
Jonathan Bogart: There will probably be times in my life when I’ll need this song. The score is a gesture towards those times.
[6]
Al Shipley: Maybe it’s just that she’s older and a mom now, but these days I’d much rather hear Pink sing something sad or bittersweet — like this and the even more mawkish-yet-affecting songs on The Truth About Love – than the strained jokes and pottymouth asides elsewhere on the album. Greg Kurstin’s twinkly music box symphonies work even better for her than they did with Clarkson, making Geggy Tah the unlikely origin point for the current era of bleeding heart female pop.
[6]
Brad Shoup: I prefer it when she talks about how shit sucks. Fixing shit isn’t her thing.
[3]
Katherine St Asaph: When I said Pink needed to find new inspirations, I could’ve probably guessed she’d go for hard rock riffs, but Laura Veirs? (Or, more likely, Kelly Clarkson’s “You Love Me“?) I could do without the inspiroglurge, but for once I’m not mourning Try This.
[6]
Anthony Easton: Some of the electronic geegaws attached to this sound like chiptunes, and the piano is always welcome — in fact, I wonder about a chiptune and piano arrangement of anything that isn’t this.
[4]
When she keeps trying to distract you with circus tricks, there’s a problem. She’s become so hyped as underrated she’s now overrated.
Circus tricks? Funhouse was years ago (oh jeez it really was wasn’t it).
Circus tricks, acrobatics, modern dance–point is she uses physicality to make events out of uneventful songs. Fagan was being facetious. If you have to resort to pseudo-intellectual rhetoric games to defend her, it’s a sign he’s more right than wrong.
I wasn’t defending her, just making a bad circus/funhouse joke.
Pseudo-intellectual!
Minus the incredibly…awkward video, the song is quite locely, eapecially when she breaks out the harmonies in the last chorus.