"Queen of California" John Mayer

Once known for his womanizing and "racist penis," John Mayer's public persona has mellowed considerably in recent years. (He's been out of the spotlight almost entirely since last fall, when he underwent surgery to remove granulomas growing on his vocal cords.) New single "Queen of California" is equally devoid of the qualities that have made him an intriguing—and at times infuriating—artist over the past decade. Foregoing his bluesy ambition (and self-seriousness), Mayer heads further into jam band territory, turning in a flat, folky ditty about moving on to the next phase of life. The homey acoustic guitar might get your foot tapping, but the lack of any musical or emotional build-up robs the song of much interest. C+

"Too Close" Alex Clare

Have you heard about this dubstep thing? It's the latest craze sweeping the nation. All the cool kids are doing it! (Even the Grammys got in on the action earlier this year when they nominated Skrillex for Best New Artist.) You wouldn't know it from listening to pop radio, though. The electronic dance music subgenre may have taken over clubs and frat parties across America, but the airwaves are largely free of its signature wobble effects and bass drops—save for the occasional hipster-baiting breakdown in major label releases like Britney Spears' underappreciated "Hold It Against Me."

Now it seems that Alex Clare's "Too Close" has the potential to be the first true crossover success of the dub-pop era. Already a top ten hit in Clare's native Britain (where dubstep originated and stars like Katy B regularly rock the charts), "Close" is currently impacting Stateside, thanks to a featured spot in Microsoft's Internet Explorer 9 ad this past spring. Conventional wisdom would suggest its foreboding synths and laden pacing are too heavy for mainstream audiences, especially in the thick of summer. But the quirky percussive instrumentation of the verses and the stirring blue-eyed soul vocal make "Close" feel like a natural follow-up to "Somebody That I Used to Know" or "Rolling in the Deep" on a radio playlist. It will be interesting to see how far this one can go. A-

"New Day" 50 Cent ft. Dr. Dre and Alicia Keys

Earlier this summer, Alicia Keys teased fans with a rollicking piano jam that many took as a hint of what was to come on her long-awaited fifth studio album. Now there arrives a little bit of clarity: Apparently, she was just getting us all hyped for the return of 50 Cent. In an unexpected twist, Keys' track serves as the basis for "New Day," the Dr. Dre-produced lead single for Fiddy's upcoming Street King Immortal. Even more surprising? It's perhaps better than the original. The joyous urgency of Keys' chorus is elevated in these small doses—a refreshing hook cutting through mushmouth verses. Neither rapper turns in noteworthy work, but there's plenty of satisfaction in just letting your ear ride over that drumming beat. B+

Throwback Thursday: "Alone" Heart

Thanks to years of Idol worship (particularly one star-making performance by Carrie Underwood), Heart's "Alone" has been reignited as an '80s classic by a new generation of fans. It is now remembered as a standout moment of the power ballad era, mostly for its towering chorus that has become a crowning achievement for any aspiring diva. The desperate cries of "How do I get you alone?" certainly make for a stirring and memorable refrain, especially when bellowed by the full, emotive voice of Ann Wilson. It's enough to make you forget that the rest of the song is fairly lackluster—a snoozy placeholder until that epic release of unrequited lust. Nancy Wilson provides a kickass guitar solo, though. B+

25 years ago this week, "Alone" was the #1 song on the Billboard Hot 100.

"Goin' In" Jennifer Lopez ft. Flo Rida

Combining urban swagger with the trendiest Eurodance synths, "Goin' In" is one for the party people and the hard-hitting hip-hoppers of Step Up Revolution, the film soundtrack from which Jennifer Lopez's latest single is a featured release. As with most recent dance-pop music, the song is utterly lacking in substance (what does it really mean to "go in?"), but that hasn't stopped its ascent to the top five of the club charts on the strength of a hot, if somewhat generic, beat. Though Lopez's days as a pop superstar are seemingly behind her, this late-career revival of the dance floor diva inside—the source of J. Lo's greatest hit, "Waiting for Tonight"—suits her indistinct presence well. B-

"Pontoon" Little Big Town

There's nothing egregiously bad about Little Big Town's "Pontoon," a twangy celebration of summer lake trips that's been floating around the top twenty of the iTunes chart for weeks now. Unfortunately, the song is as dull as... Sorry, I momentarily feel asleep trying to think of an adequate aquatic-themed analogy. Lazing through a series of instructional lyrics that sound like they were written in about 10 minutes, the coed Alabama quartet provides the soundtrack for the least exciting pool party your aunt has ever hosted. Who are all these people buying this sleepy, sun-kissed jam session? Remind me not to attend their Labor Day barbeques. C-

"Everybody Talks" Neon Trees

It's been a quiet two years for Neon Trees since the Utah quartet's debut single, "Animal," went full indie breakout—#1 alternative hit! Vegas commercial! Glee cover!—back in 2010. But "Everybody Talks," the lead single from their recently-released sophomore effort of the same name, could put the band back on the map after slowly climbing its way into the top twenty of the Billboard Hot 100 over the past four months. In many ways, "Talks" is a close cousin of Neon Trees' earlier hit—another lo-fi garage rocker that takes off into the stratosphere during the sleek chorus. Throwbacks to the sounds of '60s guitar pop give it enough of a fresh edge to feel like its own song. B

"One More Night" Maroon 5

Lead single "Payphone" still hasn't left the top three of the Billboard Hot 100 since its debut more than three months ago, but Maroon 5 is already back with another release from its latest album, Overexposed. Adhering to the band's relentlessly pessimistic love-is-pain philosophy, "One More Night" is a grim midtempo track in which sex is the only thing left holding a relationship together. (When was the last time Adam Levine sang about something happy?) The highlight is Max Martin and Shellback's production, a bubbly yet dark reggae bounce that keeps the proceedings more interesting than they have any right to be. B

Throwback Thursday: "Baby Got Back" Six Mix-A-Lot

So controversial upon initial release that the music video was banned from airing on MTV before 9 p.m., "Baby Got Back," Sir Mix-A-Lot's classic paean to big butts, is now both a pop culture punchline (it has supplied cheap laughs in films ranging from Gigli to Shark Tale) and a nostalgic favorite among those of a certain generation. But is it any good? Well, yeah, it kind of is. From the opening declaration of "I like big butts and I cannot lie"—certainly one of the most memorable first lines in all of popular music—onward, the song is a rump-shaking good time, featuring a campy, sounds effects-laden instrumental and lewd, crude, eminently repeatable rhymes. What's more, Sir Mix-A-Lot actually has something valuable to say. Even as it revels in objectification and stereotypes, "Baby" humorously challenges the media's unreasonable standards for the female body. It's no feminist revolution, but it's hard to hate a song that can appreciate a full-figured woman. B+

20 years ago this week, "Baby Got Back" was the #1 song on the Billboard Hot 100.

"Turn Up the Radio" Madonna

Thus far, 2012 has been a definite disappointment for Madonna. Despite huge promotion from the Super Bowl halftime show, her latest album, MDNA, suffered a record-breaking 87% drop in sales its second week of release. (It lasted all of two months on the Billboard 200.) Massive grosses for her new world tour have been met by surprisingly harsh reviews lambasting the queen of controversy for her hijinks. And MDNA has yet to launch a single that has connected with the public. That won't stop Madge from trying one more time with "Turn Up the Radio," a dreamy synth jam about escaping into the music (though the just-released video, simple and cheeky, indicates she probably doesn't expect much). The track's laid-back production carries the listener along on a wave of earnest joy, and the chorus has just enough punch to become a club favorite. Still, "Radio" lacks the transcendent oomph of a true feel-good anthem, especially since the lyrics touch on some very familiar tropes. On the bright side, it's much better than "Girl Gone Wild." B

"Take a Little Ride" Jason Aldean

Though he's been entertaining audiences for years, Georgia boy Jason Aldean got a whole lot of new fans in 2011 when "Don't You Wanna Stay," his lovely duet with Kelly Clarkson, became an enormous crossover hit. The buzz led to his first top ten appearance on the Billboard Hot 100 (with Ludacris collab "Dirt Road Anthem") and a new single—"Take a Little Ride," from his upcoming fifth studio album—that has already shot to #1 on iTunes in its first day of release. Driven by a hard-hitting, easygoing, twanged-out electric guitar, this tune will likely be a favorite for tailgating frat boys and country radio alike. But what will mainstream audiences make of it? Probably not much. Featuring lyrics about Chevys and cut-offs, it almost feels like a song that might be conceived by a novice with only stereotypical understandings of country music. Much more egregiously, it's the kind of bland composition that makes for a great barbeque soundtrack, but not a particularly interesting listen. C

"Settle Down" No Doubt

After an excruciatingly extended hiatus—eight-and-a-half years during which families were started, lead singer Gwen Stefani released two solo albums and the group reunited for a successful tour—No Doubt is finally (finally!) back to reclaim its place as America's favorite feel-good jam band. But is America ready to embrace No Doubt again? New single "Settle Down" seems like a good place to start. Playing with the same island influences that infused 2001's Rock Steady, their last studio album, the song is exuberant, summer-y—and almost makes it feel like Gwen & Co. haven't been gone for nearly a decade. Fun but ultimately slight, "Settle" probably won't be a future classic. Nevertheless, it feels like an appropriate reintroduction to No Doubt and what it has always done best. I can't wait to see what else the band has cooking. B+

"As Long As You Love Me" Justin Bieber ft. Big Sean

Well, this is something I never thought I'd say: I miss the old Justin Bieber. Every remnant of the sweet-voiced, swept-banged crooner of "Baby" has been left behind (even the signature hair!) for a sexed-up, tricked-out, Timberlake-wannabe model, and it's not working for me. I gave the Biebs 2.0 a shot on "Boyfriend," but the catchy chorus was almost outweighed by the creepy innuendo. And his new single, "As Long As You Love Me," pushes even further into weirdly inappropriate territory (in this case, a love-conquers-all message delivered with unconvincing worldliness). I understand that Bieber desperately wants to be seen as a "mature" "artist," but at just 18 years old, he still feels like a boy trying to be a man. In many ways, though, this dubstep-inflected track is a musical improvement. I'd be intrigued to hear what the original Justin might do with it. C+

Throwback Thursday: "I Kissed a Girl" Katy Perry

Not even half a decade since its release, it's hard to think back on the massive success of "I Kissed a Girl" and not feel a twinge of regret. Removed from the blustering buzz surrounding Katy Perry's shock-and-awe breakthrough and the question of whether or not the song is homophobic, it becomes readily apparent that "Kissed" is not actually all that good. In fact, it's kind of bad. The rock-ified electro beats, in particular, sound grimy and cheap; the whiny minor-chord chorus makes for an ugly (if effective) hook, adding to the sleaziness of the whole production. Worst of all, it's almost laughable how stupidly basic the song's exploitation is. ("I kissed a girl just to try it/I hope my boyfriend don't mind it" could be the script treatment for a low-budget porno.) How did we all fall for this act again? I'd be ready to say "Kissed" stands out as one of the worst #1 hits ever, but some truly wretched crap has occupied the top spot of the Hot 100 in recent years. It's probably enough to just slap it with a D and go back to ignoring its existence.

Four years ago this week, "I Kissed a Girl" was the #1 song on the Billboard Hot 100.

"Pound the Alarm" Nicki Minaj

These days, it's not uncommon to see crossover artists releasing multiple singles at once for different markets, rather than betting on a potential hit to appeal across genre (and sometimes geographic) lines. Thus, while Nicki Minaj is currently hypnotizing urban radio with the sparse, boastful "Beez in the Trap," her latest pop release,"Pound the Alarm," falls at the opposite end of the spectrum, following in the highly-produced footsteps of megasmash "Starships" (which recently set a record for most weeks spent inside the top ten of the Billboard Hot 100 following a top-ten debut). Laden with effects and hooks and more effects at every turn, this RedOne production is definitely a club banger, but it's also a bit of a headache. Meanwhile, Minaj's rhymes barely make an appearance on the track, reducing her to a thin-voiced, Rihanna-esque hook girl. Last time I checked, we already had one of those. C

"Runaways" The Killers

Well, that's certainly one way to make an entrance. After more than three years away from the limelight, The Killers are roaring back with new single "Runaways," a sweeping, orchestral mood piece that throws just about everything but the kitchen sink into its saga of young love, stunted dreams and nostalgic escape. Favoring the arena Americana vibe of 2006's Sam's Town, the song is like nothing else on radio right now; it sounds both unapologetically retro and like a potential smash (should the Hot 100 dominance of fun. and Gotye earlier this year really portend a comeback of melodic, instrument-based pop). The chorus—a crescendo of noise and passion—could easily be a soundtrack for the melancholy dog days of summer. B+

"Blow Me (One Last Kiss)" Pink

The case of Pink presents an extremely perplexing pop star profile. She is alternately one of the most successful and least buzzyworthy artists on the planet, racking up a solid, decade-long career of platinum albums and top ten hits without ever igniting a fraction of the excitement or controversy that has surrounded peers like Britney Spears and Lady Gaga. Maybe that's just the way she wants it, but it makes Pink a bit of a boring presence in the pop music landscape. Every so often she delivers a showstopping awards show performance that steals the morning-after chatter and reminds people of her talent and/or her existence (think: the high-flying "Glitter in the Air" at the 2010 Grammys). Mostly, though, her increasingly repetitive pop-rock formula—usually catchy, frequently forgettable, always middle-of-the-road—has turned Pink into a low-key but persistent industry underdog (which has emerged as a recurring theme in her recent work).

That's not to say she hasn't had her moments: Pink's 2001 breakthrough, the six-times platinum Missundaztood, was a work of great resonance and catharsis. There have also been a couple of genuinely beautiful adult pop smashes, including "Who Knew" and "Please Don't Leave Me." And her snarling, anarchic energy on songs like "Trouble" and "U + Ur Hand" is perhaps unmatched by any contemporary female pop singer. But comfort has been the name of the game the last few years, and Pink seems to be stuck in artistic rut, as evidenced by "Blow Me (One Last Kiss)." This lead single from her upcoming sixth studio album, The Truth About Love, sounds...a lot like her last two lead singles—"So What" (from 2008's Funhouse) by way of "Raise Your Glass" (her 2010 greatest hits collection). It's not exactly grand theft melody, but all the familiar elements are there: heavy drums, shout-along chorus, references to her mercurial marriage to BMX racer Carey Hart, and Pink's signature foulmouthed swagger. (Her one concession to the recent dance-pop craze seems to have been replacing that ever-present electric guitar with synths.) Producer Greg Kurstin whips it all into a sufficiently palatable confection, but it feels less exciting than ever. Time for something new. B-