Oh wow, this sounds like it’s gonna be massive! Back in January, Mayra Veronica released the spanish-flavored “Ay Mama Mia,” which we described as having the festive vibe of classic Miami Sound Machine songs updated with modern elements and sounding like “Get Get Down” from Paul Johnson. After topping the Billboard Chart, the song got picked up by SyCo for UK pop release. The new pop version is fully fleshed-out with a two new vocal toplines, both sung by Mayra. The bridge brings in the vocal line “Get Get Down,” turning it into a command to dance while paying homage to the ’90s house classic. The second line has a Luciana-like feel, with playful lines (“hot like jalapeño”), which essentially makes herself her own featuring artist. Rather than bringing in Pitbull or another guest rapper, she did it all herself. It’s not as multiple personality as say an Azealia Banks or Nicki Minaj record, but the distinctly different vocal lines take what was essentially a floor-filling dub with minimal vocals and turn it into a fully-realized pop record. In addition to the updated mixes by Dave Aude, Sick Individuals, Chocolate Puma, Robbie Rivera, and Razor N Guido, a new and aggressive mix by Genairo Nvilla blends the dirty dutch sound with tribal grooves for an energetic take just for big room European clubs. Add up the elements – ’90s house sample, spanish vibe, talk-sing vocals, a latin bombshell artist – and with the promotion power of Simon Cowell’s SyCo label, you got what could be a massive summer radio and club smash around the world.
Pair one of the most respected and legendary dance music producers with one of most promising and buzzworthy vocalists and the results can go in many directions. Paul Oakenfold is busy finishing up his forthcoming Pop Killer album, which is rumored to feature collaborations with everyone from Red Hot Chili Peppers and One Republic to Gnarls Barkley and B.O.B, so the idea of pairing him with Azaelia Banks is kind of inspired. Produced by Richard Benyon, the track is fairly typical festival (and radio) friendly stadium house which comes alive with the multiple personalities of Azealia. Her elevated French lyrics (flashback to “1991”) flow into a melodic singing part and a tough (but not too aggressive) rap flow. “Venus” is easily the most accessible song Azealia has done in the two years since her buzzy breakthrough “212,” as her voice sounds fully-realized as opposed to the rushed, ratchet feeling of some of her tracks in the interim. Seeing as the big-named dance producer and hip-hop artist tracks often lose a lot in translation, “Venus” is one time where a seemingly odd mismatch brings both collaborators to a higher place.