Dallas Voice (Dallas, Tex.), Vol. 28, No. 19, Ed. 1 Friday, September 23, 2011 Page: 30 of 48
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Heart and beat
David Guetta delivers the same of dance shtick while Chad D surprises I
RICH LOPEZ I Staff Writer
NOTHING BUTTHE BEAT
DJ and producer David Guetta is smart
I 1 at handling hip-hop and rap artists on top
I of dance beats. He creates a flow that is
easy to dance to and the songs aren't any-
thing more than a party in the space of
three to four minutes. But that formula re-
peats itself in Nothing But The Beat,
which shows no real imagination.
Nicki Minaj and Flo Rida bring their tal-
ents to the opener, "Where Them Girls At."
The beat is distinctly Guetta but that for-
x x mula is already showing. Minaj comes up
short here, ripping off a TLC flow and playing mote as an acces-
That changes with "Turn Me On." Minaj goes into Rihanna ter-
ritory, singing and rapping. There's np surprise that she can carry
a note, but she proves she can hang with any singer out there. This
ends up being one of the better tracks.
With "Sweat," Guetta re-imagines Snoop's "Wet" single against
a sampled beat to amazing effect.
Guetta shines here — not with hip-
hop generics over a disco beat, but
working magic with Minaj and
Snoop to create something exciting.
His innovation is off the charts.
It's too much for the last track to
save the album, but it's a glorious at-
tempt. Guetta teams with Sia on "Ti-
tanium." Collaborative Ivrio elevate
this song to a higher level than any
previous track, as Sia brings her
clever writing to the table and ends
up with as much a voice in this song
as Guetta does.
But so much is wrong with Beat
that it ends up being a beat down.
What Guetta is good at is producing
listenable disco. It's never too ob-
FCC is an "Open and Affirming" and
"Just Peace" congregation of the
HANDS IN THE AIR | But we just don't care. The
usually reliable DJ-producer David Guetta makes
all the wrong moves on 'Nothing but the Beat.'
scure or techno, but it's always the right sound to get a good
jog to or sweat it up on the dance floor.
His collabs with Taio Cruz, Chris Brown and Usher are fine
but forgettable. He handles Cruz and Ludacris well in "Little
Bad Girl/ and Brown and Lil' Wayne's skills make "I Can Only
Imagine" work as a song and not just a mix. Although Guetta
did help Usher lose a lot of R&B cred on "Without You," it's
embarrassing to hear Usher reduced to this
Coldplay/Keane/QneRepublic styled track. This is where
Guetta's mistakes happen. He keeps masturbating to hip-hop
and R&B stars, and he's missing vital aspects that would make
his own songs sound better.
He remembers his gay boy listeners with equally unimpres-
sive diva-esque tracks save for Sia. You would think that
wouldn't happen with Jennifer Hudson on "Night of Your
Life," but the song is amateurish and never lives up to her tal-
ent. Guetta gives Jessje J the chance to shine in "Repeat;" she
When Guetta isn't embarrassing himself, he goes way ob-
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Nash, Tammye. Dallas Voice (Dallas, Tex.), Vol. 28, No. 19, Ed. 1 Friday, September 23, 2011, newspaper, September 23, 2011; Dallas, Texas. (digital.library.unt.edu/ark:/67531/metapth239186/m1/30/: accessed February 24, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; crediting UNT Libraries Special Collections.