Song: Grand Canyon Artist: Tracey Thorn Album: Out of the Woods
It’s official… I LOVE the new Tracey Thorn album. Not as dancy as I expected, (or hoped) as that was the direction that the Everything But the Girl material had been going over the last few records, but actually… the album seems almost like an EBTG retrospective, with all new songs. Fusing their melancholy acoustic vibe with electronic elements and/or downright dance songs. But I am talking myself into a corner here a little bit because at times it doesn’t seem like EBTG at all. Am I making any sense?
Lead single, the 80’s-tastic “It’s All True” has continued to be one of my favorite new songs of the year. It’s one of the more, if not THE most upbeat track on the album. “Out of the Woods” starts with the almost hymn-like “Here it Goes Again.” Strings serenade Tracey’s perfect voice as the song tip-toes around on a slinky quiet beat. At first I found it such an odd opener, but it’s really grown on me. “A-Z” picks up the pace just a touch with a throbbing consistent beat, and yet you just can’t help but hang on Tracey’s every word.
The rest of the album can be quite beautiful, with the electronic flourishes very minimal. This could be your Grandma’s techno record… and I say that in the most positive way possible. My current favorite is “Grand Canyon” which has a slow build a-la Dido’s “Take My Hand.” Like that song it would have been a great album closer… it never gets super clubby, but returns the beats, though they take a back seat to Tracey’s lyrical poetry. This one reminds me the most of the last EBTG record “Temperamental” with some of the same interesting percussion as songs “The Future of the Future” and “Lullaby of Clubland,” like sounds of glass balls bouncing on glass, etc.
“Grand Canyon” would have been a great closing track if “Raise the Roof,” the actual album ender, weren’t better suited. It’s like a lost great Eurythmics track, but still all Tracey. It’s hopeful, sunny, and while again very 80’s sounding, it still remains current.
This one was a long time coming, and I can happily say it was worth it.
Enjoy.
Here is the video for the last Everything But the Girl track, "Future of the Future"
Song: Chelsea Dagger Artist: The Fratellis Album: Costello Music
The Fratellis have next big thing written all over them. Formed in Glasgow, Scotland in 2005, the band has quickly seen success overseas from singles released on debut EP’s and singles. Their song “Flathead” was chosen by Apple for their latest iPod commercial, they are named after the villains in The Goonies, and their debut album “Costello Music” is actually like… good. And fun!
It seems like they could be the next Kaiser Chiefs, which isn’t good for the actual Kaiser Chiefs because they have a lot to prove, and a lot riding on their sophomore album which has recently come out. Maybe there is room for both… we’ll see. “Chelsea Dagger” is infectious fun and my new recent obsession.
I also really dig the artwork they've used for their albums and singles.
Song: Are U That Somebody? Artist: The Gossip Album: GSSP - RMX
Here is something that I recently purchased, have been enjoying, and need to get the word out there! Two weekends ago I saw the Scissor Sisters perform at the Madison Square Garden Theater, another great show, aside form the first opening band (didn’t get their name and they are not even worth researching.) The Sisters awesome tour DJ, DJ Sammy Jo got the crowd really pumped for the headlining act as he always does, and often will introduce me to remixes that I was unaware of. That night was no different as he played a killer funky remix of the Gossip’s “Listen Up!” It turns out that the group recently released an EP entitled “GSSP – RMX” and included three mixes of “Listen Up!,” one of “Standing in the Way of Control” by Le Tigre and a cooler than shit cover of Aaliyah’s R & B hit “Are U That Somebody.”
Aaliyah was one of the most promising young talent to come out of the R & B scene in the early 90’s. At the tender age of fifteen her debut record “Age Ain’t Nothin’ But a Number” was an out of the gate hit. She had a controversial secret marriage to R.Kelly who was ten years her senior and now officially the weirdest sleezo to still have a career (Well, maybe MJ still has that.) Her sophomore record also garnered many hits but it wasn’t until “Are U That Somebody” produced by a then relatively unknown Timbaland and Missy Elliot, from the Dr. Doolittle soundtrack that she cemented her reputation as one of the most talented and forward-thinking artists in R & B and pop Hip-hop. This continued with “Try Again” from the film “Romeo Must Die” which she starred in. She briefly turned her attentions to acting, starring in “Queen of The Damned” and landed a juicy role in the hotly anticipated two Matrix Sequels. She recorded her third and most accomplished self titled album, released in 2002. Unfortunately her career was cut short when she passed away in a plane crash just after completing the shoot for her second video from the album, crushing the Hip Hop and R & B community.
Here is Aaliyah's original video for "Are U That Somebody?"
What I love about The Gossip’s take on the song is that they don’t patronize it and perform it ironically. Aaliyah not only had the best beats of the time but was also lyrically ahead of what else was out there. “Are U That Somebody” tells the story of a woman with a secret, and a private fling that she is keeping from “everybody.” She needs to tell the boy that she is pregnant, but this is more about her and if he is the one meant for her. Really amazing stuff. I love the sexy slow-dance-punk vibe that The Gossip use for their cover, and Beth Ditto has a voice that really deserves more recognition.
The Gossip have been moving into a more dance-rock direction over their career and with the “GSSP-RMX-EP” I think it really proves that this is their true fit. I’ve been enjoying Le Tigre’s take on “Standing in the Way of Control” since the middle of last year and these “Listen Up!” mixes are just absolutely killer, with MSTRKRFT’s (the one Sammy Jo played) being the hands down favorite. Seek these out! (Available on iTunes as well as a CD single on Amazon.)
I also just need to mention the second opening act the Scissor Sisters had before Sammy Jo’s set. After the awful first band a couple stage hands brought out three microphones and placed them equidistant in the center of the stage. Then, three wooden poles with wigs on top positioned right in front of them. Suddenly, voices came from nowhere explaining “Hi, we’re Wigs on Sticks and we’re so excited to be opening for the Scissor Sisters, Yay!” Then lights started going and a recognizable (though a bit obscure) girl group track from the sixties began to play. The lights created the illusion that they were performing. Here is a crappy looking video someone shot of them, you’ll get the idea:
Well it turns out that Wigs on Sticks is the creation of Sister’s lead Jake Shears who even created t-shirts for them for sale at the show. (I didn’t see them, or buy one.) And now it turns out they’ve landed on MySpace! Hysterical.
So, big ups to The Gossip, the Scissor Sisters, and the dearly departed Aaliyah. We miss you!
Song: Panic On Artist: Madder Rose Album: Panic On
Another blast from my musical past, Madder Rose’s “Panic On” from their 1994 release of the same name was one of my favorite songs for a good while. I pulled it out recently after listening to an unsigned female fronted band that’s lead singer’s voice had an uncanny resemblance to that of Madder Rose’s Mary Lorson.
Formed in 1990, Madder Rose was a New York City based indie rock band that produced very of-its-time jangle rock for their first two records, 1993’s debut “Bring it Down,” and “Panic On.” They switched to a more electronic trip-hop vibe for 97’s “Tragic Magic” and their swan song, 1999’s “Hello June Fool.” I only have the middle two albums, and while “Panic On” the song still is a personal favorite, I must admit that as a whole I liked “Tragic Magic” much better. From my research it seems that their debut is the more critically lauded release, which I haven’t heard.
Listening to them again it reminds me of a time where music was very exciting to me. With bands like The Breeders, Belly, Morrissey, 10,000 Maniacs, The Cure (their early 90’s resurgence,) Matthew Sweet, and COUNTLESS others all being part of something that seemed big to me… important. I worry that this is true sign that I’m becoming an old man because despite trying, I can not get into these bands of the moment like The Arcade Fire, The Shins, etc. I don’t dislike them but there is no connection, and I’m not sure why. I hope that it’s not simply being jaded… because I don’t think that it the case as there is new music I am constantly getting into and really praising. Yet it seems to tend more towards the pop of Lily Allen than say the art rock of TV on the Radio. (Though “Wolf Like Me” was one of my favorite tunes of last year.)
Anyhow, the music world can pretty much agree that back then, even when music seemed a bit more adventurous, Madder Rose were sorely overlooked. Check out “Panic On,” it just might be your favorite new song.
Song: F'ing Boyfriend Artist: The Bird and the Bee Album: The Bird and the Bee
I can’t decide if I love or hate this song. On one hand, it’s got a groovy vibe, and is ironically vulgar, with cooing sweet female vocals. On the other, the song seems a bit too loungy-hipster-cool. As if it was designed for some trendy lounge in Williamsburg filled with people that would no doubt annoy me to no end.
The Bird and the Bee are a Los Angeles based two piece consisting of Greg Kurstin and vocalist Inara George (who also has released a solo album.) Kurstin has played on songs by Beck and has also produced The Flaming Lips, Peaches, and Lily Allen. “F’ing Boyfriend” is from their self titled debut that came out earlier this year. Peaches remixes the song and is available here.
What do you think? I dig it a bit, but then I listen and it annoys me a little. Tell me if you LOVE it of HATE it in the comments section below.
Song: Girlfriend Artist: Matthew Sweet Album: Girlfriend
A couple weekends ago I was introduced to a new obsession… I got to play a video game called “Guitar Hero.” Forgive me if I sound like I’ve been living under a rock for a couple years but I had never heard of this game nor that fact that anything like it existed. (I also haven’t played a video game since college when “Myst” took over my life for a solid weekend.) The game involves playing an almost life-sized plastic guitar that you “play” along with a song you select. The notes are played by hitting up to five color coded buttons where you would play strings and “strumming” at the right point while the song plays. It is unbelievably difficult to get a hang of at first (unless you play the actual guitar) but once you get it… it becomes wildly addictive.
I was able to get it down by practicing with one song, over and over until I got it. To my delight, amid tracks by Motley Crue, Van Halen, and Heart was one of my favorite songs, “Girlfriend” by Matthew Sweet. Once I did get it I can’t tell you how freakin’ awesome it felt to be wailing away on this silly plastic guitar during the solos. The point of the game is just that… to make the player feel as much like a rock star as they can in the comfort of their living room. And it works! You have a crowd cheering you on (if your doing well,) and the feeling of actually hitting those notes, or pulling the wammy bar at the right moment is pure unadulterated dork-out excitement. And once you get a taste, it’s hard to stop.
Because of this, I pulled out my copy of Matthew Sweet’s third LD, also entitled “Girlfriend.” I got it back in high school and it was one of the more influential records of my life. Some consider it a power-pop masterpiece, and I suppose it wasn’t until Guitar Hero did I realize how much it really rocked. There is little pretension in Matthew’s music so it comes across as unassuming, but when I was able to rip through the guitar solo in “Girlfriend” on Guitar Hero I realized the true power of his work. Dig! 1991’s “Girlfriend” put Matthew Sweet on the map, and he enjoyed a nice alt-rock presence over three pretty great albums including 93’s “Altered Beast,” and 95’s “100% Fun.” He took a misstep with the poorly done and poorly received “Blue Sky on Mars” from 1997. It isn’t without its gems but it really felt like a leftovers album from “100% Fun.” He returned to form in 1999 with “In Reverse” in which he employed Phil Specter’s “Wall of Sound” technique. It is not up with his best work, but a good album none-the-less. He hasn’t since reached the type of cultural significance he enjoyed in the early 90’s, and I lost touch… and haven’t gotten his last two albums.
Though I must say, putting “Girlfriend” in again brought me back and made me remember just how GOOD the guy was as a songwriter and guitar player. That album is required listening to any pop fan. It’s that good.
This week I got to play the game once more at a bar that was having a special game night. Unfortunately, “Girlfriend” had not been unlocked from that version of the game (as you do better, new songs become available and get “unlocked,”) so I was forced to play the likes of Danzig’s “Mother” and “You Really Got Me” (unfortunately the Van Halen version, not the far superior Kinks.) I did a VERY messy version of “Message in a Bottle” as I thought I could actually graduate from the “easy” setting to “medium” which involves adding one more key to use. It was a bloody mess, a massacre, and this humble budding fake rock God was put in his place. But we’ll see about the next time I play… and the next chance I get to shred on “Girlfriend.”
Rock on.
Here is some happy dork rocking Girlfriend:
Actually a quick YouTube search shows it's sort of an internet obsession:
And here is a grea Anime-inspired video from "Ive Been Waiting," another great song on Girlfriend:
Song: 45:33 Nike + Original Run / Norh American Scum Artist: LCD Soundsystem Album: Sound of Silver
A couple months ago I had obtained a leaked version of LCD Soundsystem’s sophomore album “Sound of Silver” which will be released on March 20th. I have been totally enraptured by the album and honestly feel it’s going to be one of THE records of 2007.
My good friend Josh is a runner and also has a blog that he updates regularly. He really dug the LCD Soundsystem stuff I shared with him and coincidentally I got to tell him that LCD had released a single track 45+ minute song that was designed specifically for a run in conjunction with Nike. The song is available on iTunes, we both decided to get the track and do a dual review today. Check out his here.
“45:33 Nike + Original Run” was designed for a run of that length with a slow build, a middle upbeat section to get you “there,” and then a cool down section at the end. Unfortunately, I am not a runner. I don’t even work out regularly… but I’m a huge fan of his music. So, instead of trying the track out running and then embarrassing myself by not getting through the first fifteen minutes, I decided to do something else… clean the house. It came at a perfect time as last weekend my Mother came to town to visit, I had to get the place in order anyhow, why not use “45:33” to get me motivated and moving?
As promised, the song starts slow with some ambient layered keyboards that grow and grow beginning to swirl around. Piano is added just after a minute. At this point I am sorting laundry on the living room floor. Colors on the right and whites to the left to the left. My dog Clementine thinks this is a new game and grabs a sock from the thrown pile and starts running around with it. As the beat kicks in about two and a half minutes in, I already find myself distracted chasing her around. After getting the sock, which only a dog would put in its mouth, I finish sorting and have put the first load in. A voice begins to say “Shame on you,” which I repeat to the dog… who is ignoring me.
The vocals continue to talk about “taking love away from me,” “you can’t hide…” etc. Not sure what this means but I think about running and what goes through the mind of a runner as they listen to something like this. Is it a general, “let’s get moving and thinking about anything BUT the fact that we’re running.” That’s really what I would want, honestly. Although, as the song progresses I am not forgetting the fact that I put dishes in the washer but never ran it throughout the week. It is filled, will not hold anymore, so now I have to do the ones in the sink by hand AND run the full washer. As the sink fills up and I try to scrub the once non-stick frying pan which apparently shouldn’t have been put in the dishwasher like ever… I recognize “Something Great” from “Sound of Silver.” I’m already ten minutes into the “run” and the song I recognize really is pushing me to get these dishes done. It’s the closest I’ve come to a natural high… is this what all those runners are talking about?
Hearing the song in a different context I begin to think about how much a downer the lyrics are. “When something great is gone” is repeated over and over, not in this version, but in the version on “Silver” which I am hearing despite not actually being there. The cantankerous lyrics aren’t different for LCD, as lead James Murphy is sort of a grumpy aging hipster. Usually it’s pretty humorous, as in their awesome, hysterical early single “Losing My Edge.” Suddenly I realize that I have finished the dishes and am checking e-mail, which is NOT cleaning. Losing my edge in deed. So I stop, shut the laptop, and get out the Windex. I honestly can’t believe how much dust collects over a short period of time… I feel like I just recently took everything off the entertainment unit and cleaned the surface, but it’s totally filthy again. I then think back to a time when I was a kid and didn’t have to clean house or do much of anything. When something great is gone…
Suddenly, at 30 minutes in the beat kicks up and I am flying. I can’t believe how much I’m getting done… and am I enjoying it? Well no… I’m not on drugs, I’m just a slave to the beat. This gets me through the entertainment unit, but by the time I’m onto the various bookshelves and CD racks, the ambient picks up again and I begin to slow down too. Ugh, it’s the come down already. Somehow it takes me over eight minutes to clean one shelf and the song is over. I can’t believe how quick it went. More upsetting is the fact that the first load of laundry still isn’t finished let alone dry, I have two more where that came from, three more bookshelves, and… oh snap, I need to wash the futon cover as well… which the dog has basically chewed up and is being held together by safety pins. Not to mention the dishes that will need to be put away once the washer is through its cycle and cooled down, and I haven’t even started on the bathroom either.
I’m a bit depressed now and wishing this track was like four hours long, though that kind of run would probably kill someone, maybe not a professional runner but certainly an aging hipster who is actually into LCD Soundsystem. But instead of thinking about all I haven’t done I put on “Sound of Silver” and start to get into it again.
I really love this record, and think first single “North American Scum” is great. By the time the piano ballad “New York I Love You, But You’re Bringing Me Down” comes on I get a little melancholy again. Partly because of the song, which is equal parts sad and funny, but also because I still have so much more to do, though I have made a good dent in the bathroom. Thank goodness for small favors.
In the end I liked “45:33.” I’ve also been listening to it first thing when I get to work and it does get me going. Josh thinks it is okay, and I mostly just feel it’s definitely not made for cleaning house… unless you have just forty five minutes and thirty three seconds of work to do. Yeah right. Ooh… that first load of laundry is now dry, I need some folding music…
Song: She Ain’t My Baby Artist: The Teenage Prayers Album: Ten Songs
The Teenage Prayers are a New York City based band that is currently unsigned. (Criminal!) A co-worker gave me their self-released debut album “Ten Songs” a couple months back and the more I listened, the more I couldn’t get enough. They have a soulful southern vibe to them, sometimes sounding like the Rolling Stones, but more indie. Actually, after listening to the awful Taylor Hicks record (An American Idol winner that I liked) all I can think is that THIS record is the kind he should have put out. If the band doesn’t get their deserved record deal with their sophomore set of tunes maybe they should shop them to him management… though they would most likely lose any spec of credibility they have… ah, indie rock.
“She Ain’t My Baby” is a short, fun little tune that has an almost rockabilly/50’s vibe. Check out their official website and MySpace page for concert dates, I hear they are amazing live.
Enjoy.
Here is the band doing a Buck Owens song live:
Do a YouTube search for “Teenage Prayers” and see a bunch of home made video clips as a homage to classic movies.
Song: Ruby Artist: Kaiser Chiefs Album: Yours Truly, Angry Mob
The Kaiser Chiefs exploded onto the scene in 2004 when the Leeds quintet’s first single “Oh My God” reached number 66 on the UK charts despite not being signed. This started the label bidding war and when their debut record, “Employment” was officially released in 2005, they shot up the charts and watched their breakthrough single “I Predict a Riot” go to number one. That song also managed to break big with alternative radio here in the states which lead to a U.S. release later in the year.
Their follow up, “Yours Truly, Angry Mob” will be released later this month and “Ruby” is the first single, which is currently commercially available. Like the tunes on “Employment,” “Angry Mob” is a collection of pub stompers with catchy riffs and drunken sing-a-long choruses. It’s more of the same but well done. Time will tell how this does, as other neo-new wave bands have had mixed results with their sophomore albums.
Song: Secrets Artist; Bloc Party Album: Another Weekend in the City
I find this fascinating…
Several months ago Bloc Party’s eagerly anticipated sophomore album, ‘A Weekend in the City” was leaked to the internet. The version going around, which I got, had very weak sound quality and while I sort of liked what I was hearing it wasn’t totally grabbing me. I waited until it was officially released, bought the CD, and re-imported. Partly from living with the album, and partly because of the newly rich sound, it really started to grow on me and despite not seeming to have the punch that their debut “Silent Alarm” did, the songs subtle layers began to become more clear and I began to really like it, listening more and more.
Unbeknownst to me, a fervor was swirling in the blog community about how much “A Weekend” sucked, despite the fact that it actually hadn’t come out yet. When it was released, the official critical response was mixed, with just about half panning and half claiming it was better than the debut. It continued to grow on me, so I was still formulating a true opinion.
In the midst of this, the band was releasing a variety of singles and special editions of the album which contained extra tracks, remixes, you name it. The B-sides that were floating around totaled eleven songs, the same amount that were on the official album. Because we are in the age of the internet, blogging, and DIY music… fans compiled these songs, named the collection “Another Weekend in the City” and even created some artwork for it that looked much like the official cover for the album. Blogs really then began to blow up as many fans that were disappointed with the official release were calling “Another Weekend” much better, and more in line with the sound from their debut. I found a blog that was hosting downloads of everything and have been listening since last week.
While I don’t quite agree that their original sound is “back” in “Another Weekend,” as I think that the official album sounds just like Bloc Party itself, I will say that these songs are pretty bloody good. I don’t know any of the material quite well enough yet to say which songs should have been included on the official release and which should have been bumped to “Another Weekend,” but I am sure enough relieved that they didn’t decide to make it a double album, as in my opinion fairly well reviewed recent 2-disc sets from Christina Aguilera and The Red Hot Chili Peppers just seemed like more was more and not necessarily making the epic they envisioned.
In the age of the iPod, iTunes, and the ease at which music fans can customize their listening experiences, it seems that Bloc Party seem okay with putting out the album they wanted to officially, and then letting their fans decide how they want to hear their music. This raises an interesting argument over the roles of band/songwriter and fan. Is it not the fans that really MAKE an artists career? Shouldn’t they cater to their needs and desires a bit? Or should an artist be just an artist and give the public what they want, or simply whatever is their artistic statement. In a couple ways it seems that Bloc Party have done both. They made the album they wanted to make, yet had written enough high-quality material for two albums… but instead of holding onto it, they just put it out there and thus muting the bedwetting bloggers complaining that the album sucks and forced them to listen to another albums worth of material. Now it seems you can build your own Bloc Party album, taking the tracks you like best from the total of twenty-two. I find this all rather impressive on the band’s part, mostly because all the material really seems first rate. As a music nut I am often obsessed with finding B-sides and hard to find tracks of artists I really like and while there can be a few gems within the leftovers of even my favorite artists, for the most part this material was understandably left off if not for quality, then just for being stylistically different from what the official album consisted of.
In the case of Bloc Party, and “Another Weekend in the City,” let the debate rage on. Honestly I have really been enjoying these songs, with “Secrets,” “Rhododendron,” and “We Were Lovers” sticking out as great tunes that no Bloc Party fan should be without. And if you have “A Weekend in the City,” we sure to seek these songs out which, I must add, are all available commercially, if not on the various special editions of the album then on the singles for “The Prayer” which have been released in several versions.
So which is better? And does it even matter? The album debuted pretty strong here despite the lead singer’s recent revelation. (Yay!)
Song: Big Girl (You are Beautiful) Artist: Mika Album: Life in Cartoon Motion
Every once in a while something comes along that grabs you so strongly right out of the gate that you are forced to sit up, pay attention, and recognize it as something of importance. Usually this is pretty personal, as music often is, and sometimes a band or artist will do this and it will catch on and become widespread, just because they are doing something so different sonically. In my lifetime I think of Beck, Nirvana, Missy Elliot, etc… music that seems different and strikes an immediate chord. My last big moment like this was the Scissor Sisters, which I was able to get in on pretty early. They took influences form the past and made something very new and fresh, and that is what Mika is doing with his debut album, “Life in Cartoon Motion.”
Mika hails from London, born in Lebanon but raised there as well as in Paris. His sound is Elton John meets Queen with a splash of Broadway flamboyance. The Scissor Sisters are a good touchstone as far as contemporaries, though it seems with Mika, we have found someone that likes falsetto even more than Jake Shears! The songs are mostly upbeat and immediately catchy. As a matter of fact, I JUST got this album yesterday and am already over the moon about it. I had heard mention of him for a while but had yet to hear anything from him. Apparantly there is some confusion if he is gay or not, and if he is out of the closet or not… I am trying to avoid all of this media garbage as I want to have a clear head and just take the music as is.
First single “Grace Kelly” is a revelation, and I have a feeling (if there is justice) that you will be hearing a lot of it very soon, but I am getting a kick out of “Big Girl (You Are Beautiful)” which is Mika at his most camp, and no doubt a nice “follow up’ to Queen’s “Fat Bottom Girls.” The album is filled with one high-kicking pop gem after another, including “Love Today” which has a propulsive “9 to 5-esque” piano stomp, and “Relax (Take it Easy)” which has a fun elctro-dance beat. Take a trip to his MySpace page to hear some more from the album, but better yet… just go get it when it comes out at the end of the month!
I can’t stop listening, and am hoping it stays hold a-la the Sisters and is not just a sweet, love-it then you’re over it like Junior Senior. Time will tell.
Enjoy.
Check out the video for lead single, the GREAT “Grace Kelly”
Song: Heart of Hearts Artist: !!! Album: Myth Takes
You could call !!! dance-rock or prog-funk, but it’s just hard to pinpoint their exact sound and give it a label. (It’s also hard to pronounce the bands name if you don’t know… it’s “chk chk chk.”) I loved their single “Me And Guliani Down By The School Yard” from 2003, but thought their sophomore album, 2004’s “Louden Up Now” was just okay… if a little plodding. Their latest record, “Myth Takes” is set for release on March 6th. I’ve only listened to it a handful of times but am really digging it, as well as first single “Heart of Hearts.”
If this don’t make your booty move your booty must be dead.
Song: Find My Soul Artist: Sally Shapiro Album: Disco Romance
Sally Shapiro is yet another Swede making great pop music you probably haven’t heard before. Her debut album, “Disco Romance” comes out in April, a cute slice of mid-tempo electronica that reminds me of a less-pop Dido, or Annie at her more mellow moments. It’s very much a “clean-the-house” record as it sort of seeps into the background and doesn’t command too much attention. That is not a bad thing, because I actually quite like the album, it just doesn’t overdue it with the in-your-face pop hooks. Are we sure she’s Swedish?
“I’ll Be By Your Side” is the first single, but I am gravitating more toward third track “Find My Soul.” It’s a little 80’s, a touch cheesy… but I don’t know I just LIKE it. Sally is unassuming enough, maybe I’m just routing for an unconventional pop star. Apparently she doesn’t do interviews, which may prove an issue with getting her out there. You can hear more tracks on her MySpace page.
Song: My Violent Heart Artist: Nine Inch Nails Album: Year Zero
I have just been made aware of the interesting marketing plan being put into the new Nine Inch Nails album “Year Zero” which is set for release in April. “Year Zero” is a concept album set 15 years in the future painting “a world where greed and power continue to run their likely course,” and “The world has reached the breaking point— politically, spiritually and ecologically." So said lead nail and creative mastermind, Trent Reznor in a statement.
More details on the story and the plan can be found in this Rolling Stone article. Pretty fascinating. I read that the song “My Violent Heart” had been leaked on the internet last night and further research shows that many more have, but they may actually be part of the plan and not a true “leak.” All four “leaked” “Year Zero” tracks can be found here, which looks just like one of the multiple sites in this complicated network. “Survivalism” has been slated as the first single, and sounds like vintage Nine Inch Nails, though I am currently feeling “My Violent Heart” a bit more.
While they are not saying outright that they are officially giving these songs away, I really believe it’s a good move. A similar tactic was used to promote Tegan & Sara’a last album “So Jealous” where three full songs were posted as free downloads on their official site, including single “Walking With The Ghost” a good month and a half before release date. I was listening to these songs constantly and bought the record as soon as it came out.
I’ve been a fan of Nine Inch Nails since the release of the “Broken” EP back in 1992. It remains my favorite complete work by Trent, though I also really love the more dancy debut “Pretty Hate Machine” and the pop-industrial blockbuster “The Downward Spiral.” I got a little lost (as did the majority of his audience) with the bloated double album “The Fragile.” As much as I tried to like it I found the multiple instrumentals and slow pacing ultimately boring, which could never be said of any prior work. 2005’s “With Teeth” was a step back into the right direction and while I didn’t LOVE it as a whole, it included some great singles, including “Hand That Feeds” and “Only.”
Enjoy.
Here are some vintage Nine Inch Nails videos to enjoy:
Song: Are You Alright? Artist: Lucinda Williams Album: West
Lucinda Williams is a national treasure.
One of the most important figures in contemporary folk/country singer-songwriters, Williams has released just eight records in her twenty-eight year career. This month saw the release of her eighth, “West.” Lucinda had been known for not being very prolific and at worst, a neurotic control freak perfectionist. This reputation began to take hold when she took six years to follow up 1992’s “Sweet Old World,” re-recording the entire album and mixing and remixing each track until it was “right.” That album would be “Car Wheel’s On A Gravel Road” which was released in 1998 on Lost Highway. “Wheels” can only be described as a true masterpiece, a perfect album in every way. The wait proved to be worth it as it was hailed as the top album by many critics and won a Grammy for Best Contemporary Folk Album, and her first to go gold. It was the first record I had gotten of Lucinda’s and I immediately fell in love.
I had missed the boat at first with “Wheels,” not hearing the record until 2001, just in time for her sooner-than-expected follow up, “Essence.” While much more downbeat, I still flipped for “Essence” and its sexy southern-gothic charm. Because I couldn’t get enough, I went back and obtained her dynamic self titled album from 1988 and “Sweet Old World.” Like “Car Wheels,” “Lucinda Williams” sounded like a perfect record, and way too interesting than most pop-country of the time. (Though Mary Chapin Carpenter scored a huge hit with a cover of Lucinda’s “Passionate Kisses” taken from the self-titled album.) “Sweet Old Word” has many a great song, but is weary and a little too sad for my taste. (Though no Lucinda fan should really be without it, especially for “I Just Want to See You So Bad.”)
Just two years after “Essence,” Williams returned with another album, 2003’s “World Without Tears.” The songs are amazing, and I am very fond of the record… though for the first time the album didn’t feel like a whole work, a bit all over the place bouncing from up tempo rockers to slow ballads, with some blues-like “rapping” on a few tracks. I am feeling the same about “West” from my first few listens, though am still taking my time with it. “Are You Alright?” opens the album, immediately reminding me of “Essence” opener “Lonely Girls.” It has a slow, almost hypnotic build, with a repeated phrase that slowly gets under your skin. I think it’s an odd choice for first single, but like most of Lucinda’s work, (and arguably Williams herself) it defies pigeonholing.
If you are starting out with Lucinda I think it’s best to begin with “Car Wheels” which was just recently re-issued, the self titled album is not far behind in greatness… I highly recommend that one as well.
My friend Harley, whom I went to visit while there, was hearing lots about the band there and recommended I check them out. While we were in Sitges, a seaside town about 40 kilometers southwest of Barcelona for Carnival, we saw a Fangoria themed float during the parade which featured a slew of people dressed up like Alaska. I took a little video of it on my camera:
I am not sure which song that is playing during this clip… it’s honestly so hard to figure out when the songs aren’t in English! I must say though, the couple songs that I have heard form them are impressive musically. For the most part, as I paid attention to the music being played around when I was there, the Spanish language songs came off as a bit goofy or a little dated. Fangoria in general sounds very current to me, and their current hit, “Criticar Por Criticar” even sounds a bit like the Scissor Sisters “Filthy/Georgeous.” Harley said that Fangoria are known just as well for their lyrical content (biting, sarcastic, and funny) as their groovy beats. They seem to have an outrageous “life’s a party” image, as evident in the official music video for “Criticar Por Criticar”:
In general, as I listened to the music being played in Spain I was surprised at how little it changed from place to place, or more-so just the variety in what was played. Indie dance-pop would be followed by a Madonna song, then something from Kylie or Robbie Williams, then even an old washed up goofy hit from years ago like “Mambo #5.” And oddly, songs like that and “The Macarena” were played without irony… the crowd got into it! Overall, as I knew, Europeans have a bigger interest in pop music of all genres as well as underground dance tunes. I also heard a lot of remixes and mash-ups being played from 80’s new wave stuff and 90’s pop. It was really something.
While in Sitges for Carnival, the parade consisted of several floats all blaring different types of music. While Harley pointed out the Fangoria float, we also witnessed a Queen themed float which had all the male and female dancers dressed as Freddie Mercury. But consistently, everything was upbeat and rooted in dance music… basically anything from 70’s disco to the present. I found this video of some the insanity I found myself in, so you can get an idea of what it was like:
All of this was a reminder at how much I wished we were a bit more musically adventurous here in the states. I love seemingly random playlists and that’s how it was in Spain. What was missing, and very odd for someone so use to pop music here, is the lack of hip hop being played. It’s just not as big there as it is here and in other parts of the world. So while diverse, they obviously lean toward things that are relevant within their culture. And while some Spanish language pop was played, it seemed English pop songs were in the majority.
Song: Get It (The DFA Demo) Artist: Britney Spears Album: Unreleased
So what is up with Britney?
I would never say that I was a fan of Britney Spears, yet I have always felt a certain affinity for the girl and have often defended her when she is bad-mouthed. I don’t quite understand why, maybe it’s a big-brother instinct… but I often feel like she is treated unjustly, and a good example how f’d-up our current celebrity culture, and partly culture in general is.
Even though I was in Spain and not really following anything that was going on the world (pop culture included) we received the brief news that Britney had shaved her head via a local Spanish paper while in the seaside town of Sitges. Because my Spanish is about as good as my knowledge of pop-country… all we really knew was that Britney shaved her head and saw the picture. I knew nothing of the rehab or the “she’s out of control” media blitz that was happening just about everywhere else. Now that I’m back I’ve been subjected to all the articles, the negative as always New York Post cover story, and the Inside Hollywood Edition Tonight “news” programs that love to rip apart the celebrity lifestyle while making serious money from it.
Briefly the story of Britney Spears goes like this… Cute girl from small town Louisiana who auditions like crazy, gets on the Mickey Mouse Club, gets a record deal (after many many auditions and failures) releases her first single and watches it and it’s accompanying album soar to the top of the charts. Multiple number ones (and constant judgment of her budding sexuality and image) later… this girl had become the reigning teen pop queen with millions of global fans, but watched as her albums sold less (partly due, no doubt, to shrinking music sales in general and the quick death of teen pop) and her behavior constantly scrutinized. Her relationship with Justin Timberlake ended and watched his solo record spawn multiple hits (including the Britney bashing hit single and video “Cry Me A River”) while she tried to muster hit singles from her latest (and frankly best) album “In The Zone.” “Toxic” was pretty big, “Everytime” was part embarrassing and also confusing, and then suddenly she was with some backup dancer who sort of looked like Vanilla Ice, married, and having two kids. She retreated from the spotlight only to be hounded like never before… she entered a gas station barefoot, split from the hubby via text message which was caught on camera (are we really to believe this?) and now has been partying with Paris Hilton and supposedly “going crazy.” (Note that only about half of this paragraph could actually be proven with fact.)
Because of my little knowledge of the event this whole hair cutting thing was fascinating to me (As Britney, for unknown reasons) always seems to be. I thought that it could possibly be a way to “ugly” herself to try to disinterest the prying photographers that hound her… though that doesn’t really make sense, and only compounds the problem. Then I thought this was a spiritual thing, cutting her locks to “cut away” some of the negativity she’s been through… a failed marriage, a questionable career, it was a “re-birth” so to speak… something she’s been hinting at (though completely obtusely) in the “Everytime” music video. And then I thought it could just be a total re-imagining of the Britney image. I imagined a futurist, bald, completely hot Britney in a techno-cool video matched with a hot elctro track that would symbolize Brit 2.0.
But instead what we are being fed is that she is an out of control party girl, estranged by her family, and on a number of drugs, cocaine, ecstasy, you name it. And the hair cutting was just an awful “in the gutter” moment and a symbol that the girl has absolutely lost control. And here is where I get angry.
The facts are, Britney is just one of millions of kids in this country and around the world that like to go out, party, have drinks, and yes… experiment with drugs. What we are being told, for the most part, is that if you do any drugs you will be hooked, immediately be on a downward spiral, and your life will undoubtedly end unless you repent and, if you’re a celebrity, go into rehab. Rehab is the new hot local for celebrities that need an image boost because some drunk as hell annoying tart caught said celebrity cutting loose and took a shot on their camera phone. What is little reported are the number of people that do let loose, act the fool from time to time, yet maintain jobs and continue to be successful. That said, because I have spent my entire work experience as a semi-corporate cog with very little feeling of actual control in my life, I would have no idea what it would feel like to actually be wealthy enough to do what I wanted. It has effected star after star and this happens, no doubt, due to the higher class we put them in. It’s like giving candy to a baby and then slapping it when he eats it. Ugh.
And why is it that when Justin Timberlake brags about doing drugs and is even smoking a joint with the interviewer from Rolling Stone (they were in Amsterdam) for a recent cover story, it is treated with a sense of street-cred, and not proof positive that his life is out of control and headed for a breakdown? Simply, woman are still held up to a double-standard, and our culture seems to love to rake them through the coals. As Britney grew into her sexuality and gave the public what they asked for (young girls looking like they want sex) she was ridiculed and constantly scrutinized. And mostly, it should be pointed out, by woman. Britney poses suggestively on the cover of Rolling Stone and she’s a slut, Justin poses shirtless and it’s “Wow, I didn’t realize how cut he was.” Now imagine if HE was the gay “one” in N’SYNC.
I get really fired up about this because there is seemingly nothing positive that we get from our sick interest in celebrity culture and their lives. Why do we need to see pictures of underwear-free Britney? Does that really make her a bad person? I mean… really. Any why is it that a movie can be shot with seemingly willing actors yet if proper clearance and permissions are not signed off on, the film will never see the light of day… yet anyone with a camera can take pictures of anyone and sell them to the highest bidder. Why is someone peeking in the bushes and sneaking looks is a stalker but with a camera they are just paparazzi and doing their job? Honestly, the best thing we could do in this country is simply make it illegal to take someone’s picture without consent. It makes sense and would elevate our culture with that simple step.
So I defend Britney, and the possible “mess” that her life might be right now. I see pictures of heroin and crack addicted former Libertines singer Pete Dougherty and think the guy looks like he just got out of the gutter. But Britney, even bald, looks pretty okay. (Maybe it’s the Californian sun.) Or maybe this IS some strange marketing scheme to re-claim, and re-imagine, her career. I have no idea any more. We are constantly lied to by the media and press and artists representatives… what do we believe? Lindsay Lohen is late for work and we are told it’s from exhaustion or an appendicitis, or… hell I don’t know I don’t pay attention enough to know. But then all of a sudden she’s in rehab! And is she really there to help herself or is it for publicity and the public’s sake? We’ll never know, and nor should we care. Lindsay… just do a good movie!
The one hiccup in my affinity for Britney is the fact that… I don’t think she’s probably a very good “artist.” She’s an entertainer for sure, and a killer one, but her diary-talk songs she’s written or co-written are pretty… well, let’s just say Fiona Apple need not lose sleep. Early last year a demo was leaked of a song she did with New York hipster-dance remixers the DFA. They have remixed the likes of the Gorillaz, Nine Inch Nails, Junior Senior, Hot Chip, Goldfrapp, Tiga, The Chemical Brothers, Fisherspooner… the list goes on and on. Also, one half of the DFA, James Murphy is responsible for LCD Soundsystem, one of the hippest and critically praised dance acts from the New York underground. They spent an afternoon with Britney and they came up with “Get It,” a cow-bell strewn funk bouncer that has Britney cooing randomly about “And it hit my heart” and “I am here, going insane.” I have read that it was never to see the light of day because her record label thought it was too “wierd,” while when asked about the collaboration, Tim Goldsworthy, the other half of the DFA was quoted as saying:
“That was weird. Won't do that again. No offence to her - she's lovely. Got a foul mouth, though! When we work with people, we hang out, listen to records, share stuff. But with Britney we had absolutely no way of communicating. She didn't know anything that we knew.”
Regardless, I actually quite like this song. Lyrically it’s really tossed off, but for a demo… it’s got a great bounce and could hint at something really interesting in her future. I will still pray for Britney, and would love her to prove her distracters wrong. The chances seem slim, but I just wish that when someone finds themselves trashing Britney they would take a hard look at our cultural landscape of the moment, and see that Britney is just the product that we asked for… and have lambasted when we got what we want. How does anyone deal with that amount of ridicule? Could you?
Maybe after all this Britney will just bring the hat back. It could use some help.
Song: Young Folks Artist: Peter, Bjorn & John Album: Writer's Block
If there is one thing the Swedish know how to do, it’s Pop music. When they do pop it’s as bouncy and catchy as you can get. (See ABBA’s career) But even when they do punk it’s a little pop (The Hives.) When they do glam it’s a little pop (The Ark.) And when it comes to the indie rock of Peter Bjorn & John, once again… pop!
“Writer’s Block” is their third album, released last year in Europe and just recently here, it’s a tight, almost singer-songwriter album with a super pop sheen. I love it, and am really digging their first single “Young Folks.”
Song: Blindfold Me Artist: Kelis Album: Kelis Was Here
I have been listening to Kelis’ “Kelis Was Here” since it was released last year and I can’t really put my head around it. The album is a schizophrenic affair, jumping from one kind of musical style to another, and Kelis’ persona changes along with those styles. I’ve dug her ever since her first single, “Caught Out There” from her 1999 debut “Kaleidoscope” which featured the distinctive chorus “I hate you so much right now! I hate you so much right know! Aaahhhhhhhhh!!!” Wow. She’s been the Neptunes vocal darling for years, being the female voice on their “Got Your Money” by Old Dirty Bastard, and “Truth or Dare” on their N.E.R.D. side project’s debut. They repaid her, and handsomely by the way, with the gift that was “Milkshake,” a strange unbelievably catchy smash hit from 2003.
The album from which “Milkshake” came, “Tasty” was just that. Catchy, fun, and sexy… I was surprised that it contained that one and only hit. (Of course subsequent singles were bigger in Europe.) Because of the hit, expectations were high for “Kelis Was Here,” and for some odd reason the lame “Bossy” was chosen as first single. “Blindfold Me” somehow did not catch on late last year and it’s too bad… what a fierce track it is. She’s released the sweet mid-tempo Cee-Lo duet as the latest single… maybe that will catch on. It’s also a very good song. But if you are looking for the sexy, sassy Kelis of Milkshake, look no further than “Blindfold Me.”
Song: Love Generation Artist: Bob Sinclar Album: Western Dream
I am excited today. I am excited because something happened yesterday that cleared up a now ten month mystery that has been driving me crazy.
Have you ever heard a song, maybe on the radio, or out somewhere and weren’t able to find out what the song was? Maybe the DJ didn’t say, and/or nobody around knew what it was around you. I use to work in a corporate record chain back when I was in my teens and often would have people come in with this dilemma. Often I would get to hear disastrously off-key versions of songs that people had heard in the hopes that I would point them in the right direction. I was pretty good with this as I was pretty up on a lot of varieties of music. Though I did have one customer come in, sing the chorus and some broken verses of Madonna’s then hit “Deeper and Deeper.” When I quickly said to the woman; “Oh, that is Madonna’s Deeper and Deeper, you can find it on her latest album Erotica…” she cut me off to say “No, no it’s not Madonna.” Then again sang the same chorus and broken verse of Madonna’s “Deeper and Deeper.” It’s hard to argue with morons and this lady did not pick up on my thinly veiled frustration when I said “Huh, then I’m not sure what that is… though it has the same lyrics as Madonna’s Deeper and Deeper.” If it had been today I would have suggested she do a Google search with the lyrics she knew… and follow up with an apology call to yours truly.
Last May I celebrated my 30th birthday with a few of my best friends in Amsterdam for an entire week. It was an absolutely magical time for me that I will remember for many many years to come. During that week I heard a song playing when we were all out one night that I immediately needed to know about. It had a lot of whistling, and I almost thought it might be Rusted Root. (Wow) I asked all my friends and nobody had heard of it. The next night I heard it again. This time I asked a few strangers as it plays and nobody knew it. Errgh! Over that week I was to hear this song a total of four times yet nobody, wherever we were could tell me the title let alone artist.
When I returned to the States and it crossed my mind again, I did a little online research. Unfortunately, I couldn’t really remember many of the lyrics to do a good Google search. The repeated refrain, from what I could remember said something like “feel the love and elation.” But that didn’t come up. I tried “feel the love and Erration,” “feel the love bedration.” Nothing. You would think it would cross my mind that the song would contain actual words form the English language… who’s the moron now right? To my defense, we were in Amsterdam, and every time I heard the song I was either out at a bar or enjoying some… coffee.
Now ten months have passed and I had never heard the song here in the States. At this point I had really let it go so what a shock to me when yesterday, at about 5:30 PM I faintly heard what I thought was the song coming from the speakers of someone in my office. I stood up and while I thought it was a remix, it was my song! So my lovely co-worker Melanie informed me that it was called “World Hold On” by Bob Sinclar, which SHE has heard while in Greece. (And was obviously a little more successful in tracking it down than I.) After some research and downloading at home I found out that the song I had actually heard was Bob Sinclar’s first single from his 2006 album “Western Dream,” “Love Generation” which had actually been released in 2005. (And pretty much sounds almost the same as “World Hold On,” another whistle chorus!) Bob Sinclar is a French DJ that has been releasing singles and compilations since the late 80’s. “Love Generation” was chosen as the official FIFA theme song for 2006, it was a major international hit… and yet it eluded me for almost ten months here in America. How is that possible?
Anyhow, this is a fun, upbeat song that’s positive, and easy to get to know by heart because the chorus is really just whistling. It has a persistent throbbing backbeat, and a sort of general “let’s love everyone vibe.” Now that I get to hear it I think it’s good, not great… and probably best enjoyed while out with a group of good friends. I wish American radio, MTV, etc. would look to our international friends a bit more for pop music… but it seems as International as we’re willing to go is “London Bridge.” Oy.
Song: Dashboard Artist: Modest Mouse Album: We Were Dead Before the Ship Even Sank
The return of Modest Mouse… yay! Like most of you, I hadn’t heard of Modest Mouse until the release of their last album, “Good News for People Who Like Bad News” and their break-through single, “Float On.” But the band formed in 1993 and had already released a slew of independent LP’s, EP’s and collections before their Epic debut, 2000’s “The Moon & Antartica.” I thought “Float On” was an amazing song as was the full “Good News” album.
Their follow up, “We Were Dead Before the Ship Even Sank” comes out on March 13th. “Dashboard” is the bouncy first single. I liked this right away and after a few listens think it sounds a bit like Franz Ferdinand. The band seems to be paying attention to the beat of their songs more, as I have been browsing through their back catalog and finding much I like, and some that I think is so-so. I think “Dashboard” is a good first single, though there is really no way to tell if it will catch on or not. I thought Franz’s first single from their sophomore album “Do You Want To” was one of the best (and catchiest) singles I had heard in a very, very, long time and yet it did not get any serious airplay… and now it’s in a hair commercial! Ugh. But I will stay on the positive side and hope that Modest Mouse do their fans and critics well with this highly anticipated album.
Enjoy.
Two great videos from the singles of “Good News”: Float On
Song: Rehab Artist: Amy Winehouse Album: Back in Black
Amy Winehouse is the current toast of the European charts AND the European tabloids. “Back in Black” her sophomore album is doing very well in the U.K. yet it seems to be overshadowed by the fact that… she’s a bit of a booze-bag. “Rehab,” happens to be the first single, and I don’t know if this is life imitating art or art imitating life… but it’s a KILLER song with a great funky groove and Winehouse is an amazing singer. She comes from a long line of British soul singers, and her music is a heck of a lot more interesting than Joss Stone’s.
But Amy, at the tender age of 23, is looking pretty close to a crash and burn. (The fact that she has an alcohol dependency, her first single is entitled “Rehab” and her last name happens to be Winehouse is like… a publicity dream.) Recent tabloid fodder had her throwing up onstage and leaving after just one song at London club G-A-Y. (Guess what… it’s a gay club.) And then there is this… a more than half-in-the-bag duet with Charlotte Church on “Beat It.”
I’ve only heard a handful of tracks on the new record but am very impressed and will most likely pick it up when it is released here in the States. (Her first record was never released here.) Let’s see how this hot mess makes out… wouldn’t be funny if she was the one UK hopeful that actually breaks here? (I’m not holding my breath… or putting down my drink if she’s around.)
Song: Mint Artist: Keyth Lawrence Album: The Dairy Farm Follies (demos)
Keyth Lawrence is a New York based piano driven singer-songwriter. He is currently unsigned but releasing his material via his own label, I Said! Records. Keyth’s debut album “Figures” contained the propulsive ballad “Leaving” which was featured on the Here! TV series “Dante’s Cove” and in the independent film “Open Cam.” “Mint” comes from a series of demos he wrote on a rural dairy farm for inclusion on his forthcoming second album.
Initially, Keyth’s music relied mostly on his piano work and was very reminiscent of Tori Amos, an obvious inspiration. Upon listening to the demos from “The Dairy Farm Follies” I hear a world of difference in the new material, adding guitar and drums into the fold and fleshing out his unique sound. I was reminded of Coldplay in the way he added guitar and a more sweeping dramatic… and cinematic, touch to his songwriting. “Mint” is a great single (currently no. 4 on the Sirius HotQ Top 20 Chart) and I also highly recommend “Wood,” also from this new batch of songs.
You can listen to and purchase Keyth’s music at Noisehead.com, also a great site for getting introduced to new up-and-coming artists. Keyth is also a dramatic performer, and I recommend seeing him live to hear his funny, personal between-song banter alone. Check out his official website or MySpace page for dates and more information.
Song: It's All True Artist: Tracey Thorn Album: It's All True - Single
The return of Tracey Thorn! If you don’t know Tracey, she is the lead singer for Everything But The Girl, who formed way back in 1982 in Hull, England. For most of the 80’s EBTG produced mildly successful jazz-pop and it wasn’t until 1995 that Todd Terry’s remix of “Missing,” a mostly acoustic song from 1994’s excellent “Amplified Heart” took EBTG from cult status to a band with an international cross-over hit. (“Missing” is the song that goes “I miss you… like the deserts miss the rain.”)
After that dance oriented hit, EBTG strayed away from their more acoustic/jazz sound and released the absolutely amazing trip-hop classic “Walking Wounded.” While there wasn’t a “Missing” sized hit on the album, they did release a couple of great tracks including “Single” and “Wrong.” This set the stage for what I consider their masterwork, and final (thus far) album, 1999’s “Temperamental.” It is by far one of the best dance albums ever created and pretty much set the bar for electronica in the new millennium. Sonically amazing with songs that actual touch you emotionally, “Temperamental” is grounded by Tracey’s haunting, beautiful voice. While sonically a bit different, I really feel that this album was Madonna’s blueprint for “Confessions on a Dancefloor.”
Now, eight years later (and 25 years since her last solo record!) Tracey returns with “Out of the Woods” set for release on March 5th in the U.K. “It’s All True” is the first single which was released last week on iTunes. It’s an electro-80’s style dance song that had me saying to myself “Okay…” on first listen, “Interesting” on second, and by the third it was “Wow this amazing… I love it.” Tracey’s voice is a wonder, and somehow manages to create emotional depth in dance music without resorting to diva-like runs and vocal acrobatics. (For further listening please check out “Protection” by Massive Attack, a true trip-hop classic thanks in no small part to Tracey’s vocal.)
The song reminds me of Stuart Price’s Les Rythem Digitales record “Darkdancer” from 1996. It has a French-electro vibe to it… I just can’t get enough.
Song: Deee-Lite Theme Artist: Dee-Lite Album: World Clique
As I started this week I thought I was going to have just a ton of great pop music from the 90’s that I could highlight and spark the memory of my dear readers with tunes from times gone by. As the week is now at a close, I found myself searching through my CD collection for my final song and came up a bit short. It became very apparent to me that while I was still in tune to the pop music of the day, I was clearly into the “alternative” scene as that is what comprises the majority of my collection. Sure, bands like Nirvana, Nine Inch Nails, and R.E.M. were the pop music of the day… but it was pop as in POPular. Most of the novelty one-off hits of the 90’s are super dated and/or not even worth discussing. Some are just plain BAD, what were we all thinking?
As I went through my collection I came across the very first CD that I ever owned… Deee-Lite’s “World Clique.” I got the CD along with my first SONY boom-box style CD player (with the push and lift top loading tray) as a Christmas gift. I literally can still remember that day and how unbelievably excited I was. So while you ALL know “Groove is in the Heart,” one of the oddest hit songs to some along since… well probably “Love Shack,” I am instead highlighting the first song on the album, and by default… the VERY first song I was to hear on CD and my first CD player… “Deee-Lite Theme” or Track One. This song is a bit personal to me, as is the album, because it was a window to the multi-cultural “Global Village” of New York City… the town I now call home. This is an absolutely silly song but it’s got a great beat and groove and I continue to play it now and again when I DJ.
Deee-Lite never got another shot in the spotlight post the success of “Groove is in the Heart,” their second album, the super-politically correct manifesto “Infinity Within” failed to ignite a hit and neither did the third, 1994’s “Dewdrops in the Garden.” They released a remix record and then in 2001, a new millennium, they released the best-of and soon disbanded. It’s too bad, both follow-up albums were actually very good and helped bring the New York underground to this country’s collective consciousness in a way that had not been done before. They were truly cutting edge in their attempts to bridge gaps between cultures and sexual identities. I miss them.
So as this week ends and I reflect on the 90’s as a whole it occurs to me that, despite a few exceptions, that the beginning of the decade sparked an openness to something new and different that slowly died despite “alternative” taking over the airwaves. I feel like gruge-rock dominated the “out-there” scene in music and bands like Deee-Lite, Seal, EMF, KLF, etc. couldn’t fit in. Does this have to do with marketing? Or the media telling us what we should listen to… what is “now” what is hot? I’m not sure. But a lot of things changed in the 90’s as pre-millennium tension seemed to have record buyers looking for something new and then suddenly comfortable. Why does it feel further away than it actually is?
Seal’s “Crazy” was a bit of a surprise hit here in the States in 1991. It went to number fifteen in the U.K. yet managed to go to number seven here, despite its acid house vibe which was VERY European at the time. The self-titled debut did well here with the help of the single, as did the also self-titled sophomore album which came three years after, in 1994. But Seal really became a household name near the end of 1995 and into 1996 as he watched his song “Kiss from a Rose,” also included on the “Batman Forever” soundtrack become a monster hit on Adult Contemporary radio.
I’ve always liked Seal, never LOVED him, but do love a lot of his songs. If I’m honest I must say that while I really dug 1994’s “Seal” I think “Kiss from a Rose” got totally played out when it was big and one of those songs that I never probably need to hear again.
My favorite though, is “Killer,” which was actually the song that got him his record deal. It’s such an evocative song, mysterious, and cinematic. George Michael covered it a few years later; making a medley of that with “Papa Was a Rolling Stone” that is actually also quite good.
I fell away from Seal and haven’t heard the two follow up albums, 1998’s “Human Being” and 2003’s “Seal IV” though have heard really good things about the former, but have not heard as much as a single. Though with his self titled debut he brought in the 90’s and an era where music seemed like it could go anywhere. Unfortunately, possibly due to the “alternative” boom, European-leaning pop really started to stay in Europe.
The rest of the album can be quite beautiful, with the electronic flourishes very minimal. This could be your Grandma’s techno record… and I say that in the most positive way possible. My current favorite is “Grand Canyon” which has a slow build a-la Dido’s “Take My Hand.” Like that song it would have been a great album closer… it never gets super clubby, but returns the beats, though they take a back seat to Tracey’s lyrical poetry. This one reminds me the most of the last EBTG record “Temperamental” with some of the same interesting percussion as songs “The Future of the Future” and “Lullaby of Clubland,” like sounds of glass balls bouncing on glass, etc.
