Song: Run Artist: Gnarls Barkley Album: The Odd Couple
One of the more surprising hits of 2006, Gnarls Barkley’s “St. Elsewhere” was a smash riding on the unstoppable popularity or it’s first, and immediately ubiquitous single “Crazy.” “Crazy” was a pretty amazing song, one in which hip-hoppers, hipsters, and pop fans alike seemed to dig. In the currently segregated music business it was no small feat. They didn’t have any other singles as big as “Crazy,” but the album sold well and was critically successful.
I liked “St. Elsewhere,” but didn’t LOVE it. I really like the production work of Danger Mouse and find his mix of soul, hip-hop, and electronic pretty amazing, and Cee-Lo is certainly a powerful and engaging lead man, with a killer voice. I found the last record a little plodding, despite the gems here and there. Better as a groovy mood record than a genre-hopping song cycle.
Given the popularity of “Crazy” the guys have a certain level of expectation to fulfill with the release of their sophomore set, “The Odd Couple.” They no doubt know this, and I am expecting something pretty amazing… pushing their sound forward. Recently a new track called “Run” had been leaked to the internet and is now officially a single. At the time of the leak, Danger Mouse described the song as “just one of about forty” that they had for the album. So there are questions if “Run” is actually the official first single… but it is now available for sale on iTunes.
It might not be fair then to try to review “Run” as the follow up to “Crazy,” which many are expecting. It’s a fun, break-neck speed track that sounds retro yet fresh at the same time. Totally Gnarls. I love the groovy sixties-ish vibe, and the beat is hot. I don’t think it’s “Crazy” catchy… what do you think?
Song: Pale Blue Eyes Artist: The Velvet Underground Album: The Velvet Underground
It wasn’t until I was in college that I discovered The Velvet Underground, the Lou Reed lead NYC band that came out of Andy Warhol’s Factory and changed the world of Alternative music forever. I think everyone needs to go through a Velvet’s phase at some point in their life and in college was a good time for me. At the suggestion of a very good college friend whom also discovered the band around that time, I went all out and got their at the time recently released box set which contained five discs and everything that they had ever recorded in the studio. If you have the interest in the band I say just spring for this set as you will no doubt love everything they did and it’s re-mastered and all that jazz. Check out “Peel Slowly and See” here.
I won’t bother trying to summarize the bands history, check out their Wikipedia page for that, but the Velvets are such an important part of rock & roll that I feel are sometimes little-known aside from hipsters both new and old. When they released their debut “The Velvet Underground & Nico” in 1965, and brought their dangerous blend of sleaze, gender-bending sex, and rock from the gutter to the masses, it should be noted that the Beatles only then started to change their sound and become more experimental.
I randomly heard “Pale Blue Eyes” a beautiful, haunting ballad from 1969’s “The Velvet Underground” and haven’t been able to stop listening to it. I hadn’t listened to the band in a while and after hearing “Pale Blue Eyes” as well as “I’m Sticking With You” in the movie “Juno” I decided to drag the discs out and give them a new listen… all SO good.
If you haven’t done so already… it’s probably time for your “Velvets Period.”
Enjoy.
Pale Blue Eyes (live) - Lou Reed live Sessions At West 54th 1998-10-31
It’s been roughly ten years since the beginning of my R.E.M. depression. The day they released their 11th album “Up” was the beginning of the end, as a band I never hesitated to call my favorite started a decline. It continued with the better but still lackluster “Reveal” in 2001, and then in 2004 they did something they have never done, they released a truly awful album, “Around the Sun.” What on earth had happened?
Okay… I’m being a little dramatic. While “Up” and “Reveal” aren’t completely terrible, they just certainly where not what I had come to expect from R.E.M., given that since I started listening to the band, every record they released was stylistically different and well… kind of amazing. Much has been written about this, and mostly the decline in quality has been attributed to the departure of drummer and founding member Bill Berry. His last record with the band, the seemingly tossed off “New Adventures in Hi-Fi” in retrospect is quite good… comparative to the last three records.
April 1st will see the release of the bands 14th album “Accelerate.” Last July the band did a five-night residence in Dublin where they “practiced” new songs and played older songs while putting the record together. I got to listen to one of these shows and the band has taken a much more rock direction with the new material… and seem to acknowledge this with the title of their new record. Not since “Monster” has the band made such an effort to rock.
While my overwhelming interest and devotion to R.E.M. has faded a bit over the last ten years, I certainly have gotten enough joy from the band to take each new record in stride, and give it the chance a true fan should. So I am actually pretty excited about “Accelerate” and hope it’s, well… pretty great. I’ve had a few days to live with the first single from the album “Supernatural Superserious” and like it. It’s hard rocking yet pop-y, and love hearing Michael wail in the chorus with Mike Mills harmonizing in the background. I’m not sure if I love it… but am really digging the guitar riff that serves as the hook, and again love that chorus.
What do you think… and does anyone even care about R.E.M. anymore?
Enjoy.
Best moments from the last ten years…
Daysleeper
The Great Beyond
Imitation of Life
Actually, this video is quite amazing… it’s one wide shot, twenty second take, that goes forward then backwards in a loop and is repeated for the duration of the song. For the video the frame is then zoomed in, panned, etc. to catch the right bits at the right time. It’s quite astonishing. (and should really be seen in better quality.)
Song: The Sex Has Made Me Stupid Artist: Robots in Disguise Album: We’re In the Music Biz
Robots in Disguise are a female rock/electro band from the UK. Dee Plume and Sue Denim formed the band in 2000 after meeting at the University of Liverpool. Their name no doubt must be a wink to The Transformers… but since forming way before the recent big screen adaptation of the cartoon and toy line I wonder if they regret it a bit. Does it hurt their hipster cred? I suppose, in retrospect, that it couldn’t be nearly as bad as the 1999 formed “I Am The World Trade Center.” Ouch.
“We’re In the Music Biz” is the bands sophomore album, after a self-titled effort that was released in 2001. Their sound is a mix of guitar, electro beats, and female attitude. I really like the single “The Sex Has Made Me Stupid,” which is catchy, sexy, and relentlessly tongue-in-cheek. It’s a great mix of guitar lick and catchy beats with a catchy chorus. Catchy, catchy, catchy! The remainder of “We’re In the Music Biz” is similar, a mix of wink-wink lyrics, driving guitar and vaguely new wave grooves.
Song: Trash Artist: The Whip Album: X Marks Destination
Manchester UK’s The Whip are the latest disco rock act to be getting the attention of the indie world. Their debut album, “X Marks Destination” will be released in the UK at the end of March. Their sound is a mix of VHS or Beta, The Infidels, and a myriad of new wave acts from the 80’s. Very guitar driven, but with Goth synths and persistent beats. They are playing SXSW this year and will soon no doubt be the toast of every hipster blog from far and wide.
Despite the hipper than though vibe, I really dig “X Marks Destination.” The New Order and Cure influences are evident, and mid-tempo tracks such as “Save My Soul” and “Frustration” almost sound like lost gems. That’s not to say that they sound totally dated and/or derivative. 12” single “Divebomb” mixes Daft Punk/Justice style French House with arcade sound effects and “Sister Siam” sounds almost pop. My favorite is lead track “Trash,” which sets the tone for their driving, vaguely dangerous vibe.
For more on The Whip check out their Myspace page.
Enjoy.
Sister Siam
Divebomb
Trash
Don’t think it’s the official video, but love the homo Star Trek
Song: I Can’t Wait Artist: Nu Shooz Album: Poolside
So here’s a trip back. This song popped into my head this morning, reason unknown, so I gave it a listen and it immediately put a smile on my face. A perfect song for Friday! I realized I knew absolutely nothing about 80’s dance group Nu Shooz so I did a little digging and guess what… they’re from Portland! Portland!? I’ve never been to Portland, but I also have never heard it as a hot bed for dance music. Oh well… Nu Shooz changed that, if for just a song, or two.
Nu Shooz was comprised of husband and wife duo John Smith and Valerie Day. They recorded “I Can’t Wait” and released it as a single in Portland in 1984 where it became a big hit on radio in that city. Atlantic Records heard it and had them re-record it, issuing the new version in 1986. It went to #1 on the dance charts and #3 on the Hot 100. They’re follow up single “Point of No Return,” (not to be confused with the Expose song of the same name) went to #28 and topped the dance charts as well. I had never actually heard that song… it’s unremarkable, nowhere near the Dancefloor joys of “I Can’t Wait.”
They released what was their official third album in 1988. “Told U So” contained the singles “Should I Say Yes?” and “Are You Lookin’ For Somebody Nu?” Maybe it was too many questions, but they failed to chart very highly. I gave them a listen… kinda boring to be honest. And while that was the end of Nu Shooz, they left us with “I Can’t Wait,” which while not a song to build a career on (despite releasing an unplugged version in the 90’s) it’s a crowd pleaser at any 80’s party.
Song: Come On Down (Live Element Radio Mix) Artist: Crystal Waters Album: Come On Down Single
Remember Crystal Waters? She’s best known for two huge radio and club hits in the 90’s, “Gypsy Woman (La Da dDe La Da Da)” and “100% Pure Love.” Since the new millennium, dance music hasn’t had much of a top 40 presence (save for teen pop and hip hop) so poor Crystal has pretty much made just a handful of albums and singles that while big in clubs, haven’t made their way into the hearts and minds of the masses.
In the mid 90’s she has had some club hits that I remember getting on some dance compilations, “In Da Ghetto” and “Say… If You Feel Alright.” Both didn’t chart highly on the Hot 100 (though “Say…” did hit # 40) but did well on the dance charts. Even the U.K. was ignoring her!
I hadn’t thought about Ms. Waters for just about ages, until my good friend John let me borrow the single for her 2001 release “Come on Down” which samples… take a guess, the theme from The Price is Right! I have absolutely fallen in love with this song and can’t get over the fact that I had never heard it before. Oh well. This one went to number one on the U.S. Dance chart… so somebody was listening. It’s so much fun.
Recently Crystal lent her voice to “My Time” in 2003 for the band Dutch, and just last year to Alex Gaudino’s “Destination Calabria.” You can take a look at the video below, as well as a few videos that will take you back.
This radio edit of the song is good, but the full eight-minute club mix is just a bit better. Gotta build that drama!
Enjoy
Gypsy Woman
And while this is a little mean… you really gotta check this out.
Song: She’s Makin’ Me Lose It Artist: Blake Lewis Album: Audio Day Dream
So I’m an American Idol watcher. Got into it towards the end of the first season and have pretty much (thanks to DVR) seen just about all of the subsequent seasons. While I do enjoy the show, the music that it has produced has done little for me, save a single or two. Actually… save for Kelly Clarkson really. But post-debut Kelly, isn’t that when we all started to pay attention? http://www.blogger.com/img/gl.link.gif Well, The Idol is THE most popular show on television right now, by pretty much a mile, and it has really become a cultural phenomenon, changing the lives of many kids across the country. Some for better, some maybe for worse.
What is my fascination with American Idol the show despite not really caring about the careers that it creates? Well, given the way corporations have taken over America, show business is really the last way one can see the American dream come into fruition. And many of these kids that come to audition for Idol are pretty open to the fact that they want it to change their lives. As with the last several seasons, we are let into the audition process to see the good, the bad, and those grasping at fifteen minutes, despite how humiliating it all ends up. This season has been no different, with one contestant, after being denied entry to the next level, began to cry and say “But I don’t want to go to school!” Sad, but true.
So while I have been watching this new season, now three weeks of auditions, this process had grown a bit tedious to me. The show is really adept at building a story for an individual, even before they sing before the judges, and it’s hard not to be sucked into some of these stories. Since I’ve seen past seasons, I know that slugging through this tedious audition process can pay off when it gets to “Hollywood Week” and you can recognize and recall the hopefuls as they continue to try to move ahead. But this season, as last nights episode began, which I watched between Super Tuesday coverage, I realized I was getting a little over it. Well… that was until I had actually watched last nights Atlanta auditions.
Last night was a particularly rich episode for the auditions period, and thanks to crazy fans, I’m able to post clips. First, it’s still amazing to me but many just flat out awful people audition and then are shocked when they don’t make it. Is this actual delusion? Or do they really just want on TV for 30 seconds? Last night they did, as they usually do once and episode, get a bunch of the worst to sing one song and make a funny edited piece with it. These takes on Fergie’s “Glamorous” were particularly amusing…
Also last night was a what seemed way too long bio segment of someone that obviously doesn’t have a chance, Miss South Florida Fair’s Brooke Helvie. She’s sort of the typical empty-headed American hopeful that usually ends her time on the show in tears after being told she’s awful, or shouting expletives at the camera about the judges. Last night things went a bit unexpected, take a look…
I was pretty shocked in the end… but don’t think she really has a chance at the final twelve.
So why do I watch Idol again? Well… it’s to watch people like last seasons Blake Lewis. We saw him audition, get through Hollywood, and while not a KILLER singer, the kid seemed generally talented. Taking the songs he was given to sing and actually doing something with them, changing the arrangements himself, etc. I loved his cover of “Time of the Season” on the show… and even bought the studio version from iTunes. He emerged as a sort of Kid Maroon 5, with a beat boxing fixation that he never over-did.
Blake ended up being runner up, losing to seventeen year old Jordin Sparks. They both released their first albums at the end of last year and I actually took the time to listen to both. Jordin’s was pretty much as expected… the girl has a great voice that is not distinct at all, and sings teen-pop songs that don’t elevate beyond such. Even the Bloodshy and Avant productions are just so-so. It was pretty awful. But I found Blake’s to be relatively interesting… as I had hoped.
First, Mr. Lewis wrote or co-wrote every track on the record, which I believe only Chris Daughtry has done for an American Idol debut record. His artistic stamp is all over the record, which I found very refreshing. Is it great? No. It really is a Maroon 5-Lite type record, he shows his age a bit… but also shows he is really a talent to watch. He mixes a lot of 80’s influence, his beat-boxing, and his Morrissey-like vocals to positive effect. I’ve certainly listened to it more than I expected. There are some Erasure-sounding tracks on there, as well as Enrique-quality mid-tempo ballads. It’s all over the place, which is part of its charm, but also makes it a few stops before total recomendationville.
That said, it deserves a listen… especially if you like 80’s music and Maroon 5. “She’s Makin’ Me Lose It” is typical of the upbeat tracks, and I must convince I thought some of the slower tracks actually worked. The production is varied, and interesting.
Here is the first single “Break Anotha”
I can see why many loathe American Idol, and honestly don’t completely understand my fixation as most of the contestants annoy the heck out of me. But every once in a while watching someone rise from obscurity to TV’s most watched stage is a complete joy. Watching Chris Daughtry go from every-guy to rock God over his season was amazing. And while I think the music he makes is Creed-like crap, he was SUCH an engaging performer… but who cares what I think, he sold a TON of records. And last night I found the contestant I’m most interested in watching… Amanda Overmyer:
Damn… girl can sing. I guess I’m watching this season too.
Song: Umbrella Artist: Biffy Clyro Album: Radio 1's Live Lounge: Volume 2
A couple months ago I wrote a piece about a BBC Radio 1 compilation that celebrated the 40th anniversary of the station called “Radio 1: Established 1967” which was comprised of songs, one from each year of existence, as covered by major acts that are popular in the U.K. today. I really liked the collection and recentlyhttp://www.blogger.com/img/gl.link.gif have also been enjoying another Radio 1 compilation entitled “Radio 1’s Live Lounge: Volume 2” which was released just a couple weeks after the aforementioned compilation last October.
Jo Whiley’s Radio 1 show is a popular live in-studio show in which currently popular artists come in and play live, sometimes stripped down acoustic versions of their songs as well as other popular songs from other artists. At best, an artist will re-work a popular song in their own style and do something different with it. One of my favorite Live Lounge covers was the Scissor Sister’s piano based of Franz Ferdinand’s “Take Me Out.” As in this case, some of these covers can heighten a song, making something pop and seemingly frivolous actually gain some weight. I recall feeling the same when hearing Travis’ acoustic take on Britney’s “Baby One More Time” which was popularly traded in the days of Napster. I remember reading that they wanted to prove how good the actual song was by simplifying it down to just acoustic guitar… and it is ultimately totally effective.
In that vein for this compilation we have Scottish rock act Biffy Clyro doing an acoustic take on Rihanna’s “Umbrella.” It’s simple, straightforward, and actually kind of beautiful. 2007’s most ubiquitous single shows some hidden strength in this version, the words more clear without the driving beat and Jay-Z interruption. It could have been snarky, and devoid of actual feeling… a joke cover that certainly happens within the Live Lounge format. On this compilation alone we have The Frey doing a silly, demeaning take on Shakira’s “Hips Don’t Lie,” including dry, spoken word take on Wyclef’s more energetic cameo that is simply done to make the original sound ridiculous. The Enemy’s take on Madonna’s “Hung Up” is also too jokey to take seriously, or want to hear more than once. Maybe I’m just a “if you don’t have anything nice to say don’t say anything at all” kind of guy.
Paolo Nutini do a nice job with Amy Winehouse’s “Rehab, and the Artic Monkeys give a laid-back rock vibe to her “You Know I’m No Good.” Bloc Party turn Nelly Furtado’s “Say it Right” into a brooding Cure-like ballad, and KT Tunstall takes their “The Prayer” and… well she does a pretty faithful cover, nothing really new or interesting… but it’s cool. There are cringe-worthy moments though… as 30 Seconds to Mars turn Kanye West’s “Stronger” into a slow Goth-lite ballad. Just another example of “how does this band still have a career?” Many artists do stripped down live versions of their work, my favorites being Calvin Harris’ acoustic version of “The Girls,” and Robyn’s piano version of “With Every Heartbeat.”
If you’re a covers fan this compilation will be a lot of fun for you. I haven’t heard Volume 1, but from the track list it seems like more of the same. I might just be checking that out…
Song: Conquest [Acoustic Mariachi Version] Artist: The White Stripes Album: Conquest [EP]
I didn’t LOVE the White Stripes latest record, last year’s “Icky Thump” as much as I have their previous releases. Now, I do truly believe that Mr. Jack White is a guitar and musical genius… and therefore while “Icky Thump” may not have met up to the high standards they’ve made for themselves, compared to what else is happening in rock ‘n’ roll (possibly a sweeping generalization from someone that spent a lot of time dissecting the latest releases by Kylie & Britney) the Stripes are still out on top, and one of the more important bands to emerge in the last several years.
One track that I did LOVE from “Icky Thump” was the cover of Patti Page’s “Conquest” (written by Corky Robbins,) which has been selected as the third single. For the single, they are releasing an EP featuring an acoustic “Mariachi Version” of the title track, as well as three B-Sides produced by Beck. It’s a particularly good package, and a must for fans of the Stripes.
I really do like the original more rockin’ version of “Conquest,” but this one is a lot of fun as well. Be sure to check out the video below which, in regular White Stripes fashion is funny and conceptual. I’ve posted my other favorite videos by the band… which are all pretty amazing.
Song: Stand By Me Artist: John Lennon Album: Rock ‘n’ Roll
I was raised on the Beatles. My parents, my father specifically, were big fans and thus I became one as well. I suppose it helps that they are arguably the most influential band ever, doing for music what very few have done before and since. How many times have you heard a band or artists work be described as “Beatle-esque?” Since I missed the entire Beatles “thing,” not being born before they split, I heard their work out of sequence, including their solo work. (Though for some reason, this pretty much excluded all the other Beatles except Lennon. I’m not going to argue their individual merits; My father just dug Lennon… so that’s what I know.)
So this holiday season my technically… I don’t want to say challenged, more phobic, father asked me to get him an iPod, which shocked me, and fill it up for him with his favorite stuff. So when I got his wish-list it was a little bit like going down memory lane and a flood of images from my past came to me when I saw Lennon’s “Rock ‘n’ Roll.” This album was in heavy rotation when I was a kid and actually was most likely my first introduction to some of these classic songs (covers from the late 50’s and early 60’s.)
Lennon sounds great on these tracks, and Phil Spector’s production brings them to life sonically. I didn’t know the interesting history of the making of the album until reading the article in Wikipedia. I won’t bother trying to summarize, read it yourself if interested, it’s a good story. (Phil Spector is officially crazy, beyond being like… you know, a killer.)
Lennon’s cover of “Stand By Me” was a top twenty hit when the album was released and probably my favorite on the album. It’s slow, which is not typical for the album as a whole which is pretty upbeat and well… rock ‘n’ roll. The song itself is one of the greatest ever written, and when looking for something to end a party recently I played this. Sometimes you can find the perfect summation of life, love, friendship, and family in a song… and here it be.
Song: Ready For the Floor Artist: Hot Chip Album: Made in the Dark
Here’s a band that just seems to be getting better. Hot Chip’s debut, 2004’s “Coming On Strong” had its moments, yet it was so joke-y, very hard to take seriously. And while they have never shaken that goofiness, their sophomore follow-up “The Warning” (2006) showed that they were more than a joke band. “Over and Over” was a track that immediately drew you in, and built percussion on top of percussion to a true pop sing-a-long moment. But for me, it was “And I Was a Boy From School,” which had equal parts catchy electronic-dance and pure emotion. It was quite beautiful, and a great rhythmic track… and the geek-ish vocals of Alexis Taylor perfectly suite their vibe. Hot Chip seem to want to be many things, or try many things musically. Beat wise they are doing things that are Chemical Brothers worthy, yet they have a deep affinity for R&B, be it Prince or R. Kelly.
While it might seem like a touch of more of the same, the bands third record “Made in the Dark” is better in every way. It seems that they’ve figured out their strengths and where they do best as a band. So we have an album of killer dance tracks, met with genuine slow jams that are both musically interesting, and emotionally true. Actually, to call this “more of the same” is completely not fair… it’s just Hot Chip writing a superb new collection of songs.
First single “Shake a Fist” is an attention getter. After a slow build of driving percussion and random blips coupled with Alexis’ stuttered vocals, the song suddenly stops completely and then explodes with crazy video game noise. Before you can turn to your friend and say “What the…?” big beats take you over and you’re dancing. It’s a crazy track, that swerves here and there, but utterly enjoyable. Even better is the following track and current single “Ready For the Floor.” Here we have a song that sounds like a lost 80’s classic… almost. It’s a bit Pet Shop Boys-ish, quite sweet and warm. It’s the song that should give them some crossover potential, and proof positive that these guys deserve a bigger audience. Awesome.
There are some earnest ballads here too that are musically interesting, “We’re Looking For a Lot Of Love” takes you to synth-organ lead church with a laid back beat and soothing vocals, and yet… is it a Nicolette Larson joke? Even better is the title track, which is a piano assisted, full of soul, break-up track. It sounds almost classic… and would more so if you hadn’t written Hot Chip off just a little as geeky pranksters.
Song: Out of Our Heads Artist: Sheryl Crow Album: Detours
There are some artists that, despite their genre, seem to be able to create any type of music that fits within the marketplace and their own aesthetic. Madonna comes to mind when I think of this because she pretty much has consistently had success but commercially and artistically. Back in the 90’s she had the 1 – 2 punch of the sort of mediocre “Erotica” and “Bedtime Stories” but then wowed everyone with “Ray of Light.” Everyone thought she sank with “American Life” but then came back with “Confessions on a Dancefloor,” an incredibly successful record that garnered her most successful tour ever. I think “American Life” was a personal record, and one that she did, by Madonna terms, very little marketing and promotion for. With “Confessions,” she basically said… “I’m Madonna, if I want you all to buy my records and see my shows, I will have it done.” And we did.
I’ve been a Sheryl Crow fan since her debut “Tuesday Night Music Club” back in 1993. When that record came out, and she had the super hit “All I Wanna Do” many of the collaborators on the record thought she took too much credit, including the albums main producer Bill Bottrell. In response, Sheryl created her sophomore album, “Sheryl Crow” in 1996 which was better, and had more hits. She then released “The Globe Sessions” which happened to be even better, and also garnered a slew of hits. She was proving herself all right, letting go of the criticism, and doing it for herself. It seemed to me, since each record was better than the one before, that she was unstoppable. And while “C’mon, C’mon” wasn’t to me, as good as the albums before, it was still really solid, and the most pop of her records. After a successful Greatest Hits package she finally slipped a bit, with 2005’s “Wildflower.” I just couldn’t get into the record and it was something no other Sheryl Crow record had been before… boring.
So I am pretty thrilled to report that Crow’s new album “Detours,” to be released next month is a return… and pretty excellent. The big surprise, and maybe the thing Crow needed to get the spark back is the return of Bill Bottrell as producer. They have buried the hatchet, and these old friends have crafted a truly incredible album. Like Madonna, after Crow had the disappointing “Wildflower,” she returns with one of her best albums. “Take that! I can do anything!” To be fair, “Wildflower” was to be a very personal record and one she said she “thought she deserved.” Agreed, but thankfully she’s back writing for us.
And for us I mean Crow is writing for the United States, the world, and humankind. This is her most political album to date, but brings everything in a catchy, sunny, Sheryl Crow package. Current single “Love is Free” recalls some pretty tough living and down and out situations in Katrina ravaged New Orleans, but delivers it in a bouncy “All I Wanna Do” style sing-a-long. Despite what I’ve read about the song, the dichotomy of subject matter and tempo is neither odd nor offensive. Crow simply sees the strength within people have lost so much, and carry on. It deserves to be a hit.
Elsewhere on the album Crow touches on failed romance as on “Diamond Ring” (Why’d you run Lance? “Diamond ring… fucks up everything.”) and the fuel crisis (“Gasoline.”) “Out of Our Heads” is an arena worthy sing-a-long that calls for peace over war, love over conflict. Again, super catchy yet meaningful. This is simply some of Crow’s best material to date. I’m still getting into it, but almost immediately I heard the return to the Sheryl I remember, and it’s some return. “Detours” is the album we need right now, one that Sheryl needed right now, and one that further brings her along the road to being one of our most important singer-songwriters we have.
With the release of 2005’s “Supernature,” Goldfrapp became one of the leading groups making disco-influenced electronic music. “Supernature” was what seemed like the climax of an evolution that started with their debut, 2000’s “Felt Mountain.” “Mountain” was a trip-hop meets cinematic soundscapes mood record that garnered the group immediate attention and was short listed for the coveted Mercury Prize. Their follow up, “Black Cherry” pushed their sound a bit further. Not wanting to repeat what they had done with “Mountain,” everything was just a bit MORE, most exemplified by the international hit “Strict Machine.” (You’ve heard it in a number of advertisements here in the States.) Given that remixes of “Black Cherry” tracks became huge club hits, Goldfrapp decided to once again go further into all-out dance and the result was the mind-blowing “Supernature” which garnered the group their first U.K. top five (“Oh La La”) and two other top twenty hits.
“Supernature” was one of my favorite records of that year, a non-stop catchy mix of current electronica yet keeping with the group’s penchant for writing actual songs. I can’t recommend it enough, especially the final track “Number 1,” a stunner. I remember hearing the group say that they were unsure of their direction after “Supernature” as they thought that album represented the best of what they could do with that sound. And they had no intention, as before, of repeating themselves. I remember getting a touch sad hearing this… I LOVED “Supernature,” and well… wanted more “Supernature!”
Next month will find the release of their fourth album “Seventh Tree” and what have they done? Well they’ve defied my expectations, and created a record that is NOT “Supernature” yet distinctively Goldfrapp. At first listen I was shocked… and now I am thrilled. “Seventh Tree” is an amazing record. They have returned (sort of) to the lush trip-hop of “Felt Mountain” but have added acoustic guitar and tight songwriting giving the songs an organic folk-like vibe. Lead track “Clowns” opens simply with Alison Goldfrapp’s voice and acoustic guitar, then gives way to romantic strings. It’s quiet and beautiful and sets the pace for the rest of the record. Lead single “A&E” is probably the most upbeat of the bunch, but it truly a stunner. In a way it’s the perfect bridge from “Supernature’s” super-disco. It’s the morning after the party, after the dancing, and she’s still up, grappling with the feelings for another… possibly drug induced, but there, and clear. It’s great.
If you’re a “Supernature” fan, you might really not like “Seventh Tree.” And while I certainly could have taken another helping of their hard-hitting dance music, this album cements the group as one to really watch. I predict a lot of people discussing “Tree” this year and Goldfrapp in general. With this album the band move themselves into a new category… the Radiohead of electro-pop.
Song: Someone Great Artist: LCD Soundsystem Album: Sound of Silver
When I first heard “Sound of Silver” I remember thinking to myself that it could be album of the year. At the close of 2007 I felt the same, with many many listens proving the complexity and just awesomeness of what James Murphy has created with his sophomore album. I loved LCD Soundsystem’s self-titled debut, but I certainly didn’t expect something like “Sound of Silver.” It truly is an amazing record.
When I first wrote about the album I mentioned that it seemed like the first singer-songwriter dance record. Sort of a ridiculous claim, and certainly probably not true, but “Sound of Silver” is a true reflection of our times, our culture, and the people that are just trying to get by. I certainly don’t expect a lot of depth on the dancefloor (and I don’t consider “soul baring” house tracks deep) but that’s what you get with “Sound of Silver.” Lead single “North American Scum” was a perfect reflection on the American ideal, and the trend to discount the rest of the world, yet set to an infectious beat that wouldn’t be unwelcome at a get drunk and shake your shit dance-party. Political House?
In the center of the album you have the one-two punch of “Someone Great” and “All My Friends.” “Someone Great” is a slow-building, chime heavy, throbbing sad song about things long past… and the ability (and inability) to get over the loss. It’s abstract, and not clearly about anything specific, but as the listener… you do it yourself. When I first heard “All My Friends” it literally stopped me in my tracks. It is my favorite song of the year and one that I have yet to get tired of. It also has a slow build before exploding into an upbeat, and emotional, finale. It seems to me that this is what the Talking Heads would sound like now if they were still together. It’s a must hear.
As with any record that really pushes things forward and makes things seem suddenly exciting and new, I look forward to see what is next for James Murphy and LCD Soundsystem. The jump artistically from album one to this sophomore effort was certainly unexpected, and I am looking forward to going back to the future with album three.
So 2007 gave me a true pop dilemma. First, one of my favorite pop artist, Kylie Minogue was set to release a new album, her tenth, after a public battle with cancer over the last couple years, and second… American pop-tart Britney Spears was releasing a new album; her first in a number of years, and her first since getting married (for more than 48 hours,) her first since giving birth to two children, her first since the public divorce, and her first since she sort of went crazy. Which release had the upper hand? Uh… advantage Kylie.
In both cases, the ladies basically went out and got the hottest producers and writers available, and aimed to build an album from these songs, something they both have done in the past.
Maybe it’s because, globally, they are two of the biggest female pop acts working today, but songs from both records, scratch that… sessions, were leaked to the internet months before release. In Kylie’s case, there were a full album’s worth of tracks, all serviceable Euro-pop dance tracks with a few true standouts. With Britney, initially the leaked songs were downright laughable. Insipid poetry-laced ballads and retro-sounding vague hip hop made it seem, when married to the increased public meltdowns, that Britney Spears had in fact lost it. Again… advantage Kylie.
Most surprising was that the leaked songs kept coming, around thirty from each pop princess. And this is where it gets interesting. Fans began to put the songs together, adding artwork, and distributing them like they were the album despite the fact that for both, no official track list were released for either. Amid the Britney tracks a few hard-core, modern club tracks emerged, and “Gimme More,” the official first single BLEW UP. It became Britney’s biggest hit since her first “Baby… One More Time,” and despite, or because of her increasingly strange public behavior, we were as a culture literally obsessed with Britney. Yet, she was doing almost nothing for the record… no pre-promotion, and the video for “Gimme More” was super lazy, something that you would never expect from Spears. Regardless, “Gimme More” was a huge single… becoming a top ten hit in Argentina, Australia, Austria, Belgium, Brazil, Bulgaria, Holland, Finland, France, Germany, Ireland, Italy, Norway, Portugal, Switzerland, Sweden, the U.K., AND went to number one in the U.S., Canada, and the Euro charts. Kylie on the other hand touted her initial single “2 Hearts” as “Can’t Get You Out of My Head” good, shot a flashy sexy video for the song and watched it… well sort of tank. The song did go to number one in Australia, Spain, and Taiwan, but only cracked the top ten in five other countries, and failed to hit the top twenty in many. Wow… this one is for Britney.
When both albums were released, we finally got the full vision each artist was intending for their album. And here is where things changed for me. Britney’s record consisted of twelve modern club-ready tracks that showed the former child actor finally shedding that image completely. It’s adult, catchy, and remarkably produced. I liked certain songs better than others, but there isn’t one bad one in the bunch. Kylie’s “X” on the other hand… is kind of a mess. Despite having what I consider a couple of Kylie’s best tracks (“In Your Arms,” “The One”) there are some really mediocre songs, and a few actually BAD (“Cosmic,” “Nu-di-ty.”) What is confusing is that there were so many other GOOD songs Kylie left off the record and by far beat out Spears for song-4-song quality. What happened? In the end while I tried to pick my favorite pop record of 2007 I just took a look at my iTunes play-counts and saw that by far I listened to Britney’s record as a whole more. It’s more consistent and actually feels WHOLE vs. Kylie’s all over the place. Winner: Britney
To be fair it should be noted that Britney had her hand in co-writing exactly one song off her record, where Kylie co-wrote seven of the tracks on her record. It’s debatable, from an artistic merit standpoint, that these records can be considered best of anything. When Goldfrapp can create and produce a killer electro-pop dance record all by themselves, and Madonna can mold a dance record with just three producers and co-write EVERY TRACK. But for me, a killer pop song is a killer pop song, and Kylie has pulled off the multiple writer/producer patchwork before. And while Britney may have come out on top (album wise) in 2007, I think the future is a bit brighter for Kylie, despite being much older. There’s a good possibility that this could be the last Britney record, and forget about a tour. Honestly, do we want an hour and a half of this?
“Blackout” might not be artistically noteworthy, but it’s a killer pop record and better, in my opinion, than Kanye West’s much touted new record, and sounds MORE forward thinking and modern. (For Kanye, “forward” means heavy sampling of a seven-year-old Daft Punk song.) If you can separate the public persona from the music, you’ll find Britney’s “Blackout” a true joy.
Song: Hop a Plane Artist: Tegan and Sara Album: The Con
“The Con,” Tegan and Sara’s follow up to their 2004 album “So Jealous” was probably my most anticipated record of the year. I feel in love with the twin siblings from that record, a sweet collection of catchy guitar-based new wave songs, that literally did not leave heavy rotation on my iPod for the full three years before “The Con.” I suppose I could listen to the duo re-make “So Jealous” over and over again and be completely content, and while they did not completely abandon their new wave tendencies, “The Con” shoots to go a bit deeper, and succeeds.
I listened to “the Con” a lot this year, digging the pop sensibilities on tracks like “Hop a Plane” and “Back in Your Head” that fit the mold from “Jealous” but also was pleasantly surprised when they took elements from this style and took it just a bit further such as the title track, adding layers both lyrically complex with a touch of strange. They flirt with indie-techno on “Are You Ten Years Ago” and slow things way down (courageously) on the bookend tracks, “I Was Married” and “Call it Off,” without losing their knack for melody and sweet melancholy.
The record is ultimately more songs about love and relationships which are Tegan and Sara’s bread and butter, but there is a new maturity and depth within these songs. Even when the song is as poppy and catchy as “Hop a Plane” they balance the bop with cryptic lyrics that unfold as you re-listen; “All I need to hear is that you’re not mine.”
“The Con” was basically well received this year but has eluded the end-of-the-year accolades it deserves. Get this record, you’ll love it… and get the special edition with the DVD of the making of the record. You’ll soon fall in love with Tegan and Sara too.
Song: Me & Mr. Jones Artist: Amy Winehouse Album: Back to Black
Amy Winehouse gave us a lot this year. She gave us the return of the beehive hairdo. She gave us a string of semi-lucid, shocking, and ultimately sad public performances. She gave us the paparazzi pictures to match, looking emaciated, hammered, beat up… a real train wreck. But she also gave us one of the very best albums of the year… the old-soul, new attitude, tour-de-force that was “Back in Black.”
Nothing bums me out more than when media debasement over-shadows the actual art a public figure makes, though nobody else married their public mess of a life with their art quite like Amy. Given that the first single (and huge hit) was entitled “Rehab,” and wasn’t come cathartic singer-songwriter ode to getting clear but the REFUSAL to do so… the girl is just different. If nothing else it helped her break in this country, which is close to impossible for established acts from the U.K. No small feat.
But again, let’s not let the music be overshadowed… it’s too excellent. With the help of producer of the moment Mark Ronson, Winehouse crafted a true modern classic. She nailed the 60’s girl group Motown sound, with prestine vocals to match (Winehouse’s voice is amazing, distinct,) but wrote truly modern songs of breakup, heartache, and self-loathing. “Back to Black” works beyond just a soul re-tread because the songs are so well constructed and, potty mouth and all, Amy creates a wholly original persona.
Some choice lines:
“What kind of fuckery is this? You made me miss the Slick Rick gig” from “Me & Mr. Jones”
“I'm in the tub, you on the seat, Lick your lips as I soak my feet, Then you notice little carpet burn, My stomach drops and my guts churn, You shrug and it's the worst, Who truly stuck the knife in first” from “You Know I’m no Good”
“We only said good-bye with words I died a hundred times You go back to her And I go back to black” from “Back to Black”
Song for song “Back to Black” is an amazing record. Put it on for a cocktail party or score your next emotional breakdown, it’s an album that will be there for you… let’s hope that Amy can get it together enough to give us a follow-up.
Song: All I Need Artist: Radiohead Album: In Rainbows
Despite not knowing initially what I was getting into, I distinctly remember the first time I listened to Radiohead’s “O.K. Computer.” I had bought it at the closest record store to my college, opened the CD and placed it into my Discman, which was connected to my car stereo via one of those cassette tapes that have a wire to connect to any listening device. I don’t remember what I was doing or where I was going, but I completely remember opening that CD wrapper, and looking at the album cover as it lay on the floor of my ’85 Honda Prelude and getting that first listen to a record that would ultimately become a modern classic.
I mention this semi-inconsequential memory because it’s important for two reasons. First, my initial impression of “O.K. Computer” was that it was slow, and a little boring. This is mind blowing to me now because the album rocks as it does, AND the fact that over time the album would both thrill and confuse me, doing what few rock records do… make an ALBUM, and something that has various rewards with each listen, even with the passing years. And this is what happened to me with “In Rainbows,” the bands latest album released last year. Initially the lack of tight choruses and seemingly meandering song structure disappointed me, and I worried that like “Hail to the Thief,” their last full length album, it would be another piece of evidence that maybe one of the most thrilling bands of my lifetime had lost their edge, and had already accomplished musically everything that they would. But like “Computer,” the layers of “In Rainbows” became clearer with each listen and unlike “Thief,” they’re not re-inventing the musical wheel once again didn’t feel like a let down… it’s just too good.
Secondly, I mention my “O.K. Computer” purchase memory because I have not since that record had that memory (or excitement) of jumping into a new Radiohead record… until “In Rainbows.” This is due, and is therefore my own fault, to the fact that their three album between “Computer” and “Rainbows” leaked to the internet early and I got them and several listens in before I put down hard cash for a physical copy. Because of that I honestly can’t remember when I first heard “Kid A,” “Amnesiac,” or “Thief…” but these are the sacrifices we make when we decide to download. The way Radiohead decided to get past this was to make it available only through their website and through an e-mail download. Much has been written about this and how they are changing the industry…. blah, blah, blah, but I think their decision was simple… they wanted our zero delay in gratification society to get that excitement again, and to experience the record at one time. And they did just that, beating technology to its own game. It could be a stab to control loss of revenue, but why make it pay what you want?
So not since “O.K. Computer” do I have the pleasurable memory of listening to a Radiohead record for the first time. I got the e-mail in the early A.M. of October 10th, downloaded the tracks, and put them immediately on my iPod. I remember walking the dog while I listened to these new ten tracks for the first time under the breaking sunlight of a new morning. And while I did so I knew that thousands (millions?) of Radiohead fans were doing just that, at the same time. I had no pre-release blogger opinions clouding my head (though those would come literally hours after the e-mail was sent, including myself) and I just took in a new Radiohead record wholly. I’ve always been that music listener (and buyer) that knew exactly when a new album was to be released to get it day-of and have many times even gone to midnight sales of new releases so I could join the other super fans if not literally, than together separately… sitting down to hear what my favorite artist or band had cooked up next. And with the digital age, those moments are lost. At least… that was until “In Rainbows.”
So maybe I blame the way it was released, or this sensations and feelings that it brought back to me, but initially the actual MUSIC of “In Rainbows” sort of escaped me. But like “Computer,” given time and repeated listens it became one of my favorite records of the year, it’s complexities and oddness only revealing themselves over time. It is still hard for me to understand (or believe) how I felt about “Computer” initially but I do remember doing so, and now that I’m blogging, I get to do so with “In Rainbows” as well. It’s not as attention grabbing as “Kid A” was, or immediately likeable as, given its “Kid A” context, “Amnesiac” was. I suppose “Thief” was the touchstone as again it doesn’t aim to re-invent the wheel but this collection of songs proved to me much more warm and direct than… well anything they’ve done since “The Bends.” Radiohead fans tend to want a lot. They WANT another “Computer”-like guitar record, or they WANT a return to the more straight forward songwriting of “The Bends,” or even the mind expanding soundscape via storyline album that was “Kid A” and “Amnesiac.” What is certainly clear now after “In Rainbows” is that we’ll never know what they have for us next.
I never minded the emotional disconnect that was introduced with “Kid A” because the album was a story, and more about a complete listening experience and journey vs. singles and a song for song’s sake. (Though that is not to say that the album doesn’t have clear songs.) But when this disconnect continued with “Thief” I was disappointed, there was nothing for me to grab onto. The more I heard “In Rainbows” tracks the more I developed relationships with the songs, with Thom Yorke’s voice. The emotional directness was back. “All I Need” was my initial stand out, a sexy track that of course lyrically is unbelievably sad, and yet… emotionally honest. I’ve been there. Sometimes the music and its complexities suddenly revealed themselves to me as with the case of “Weird Fishes/Arpeggi” and “Jigsaw Falling into Place.” They now remind me of “Amnesiac’s” “Pyramid Song” not because they sound similar, but because they make you marvel in what amazing and groundbreaking musicians Radiohead are. And with “Videotape,” the album closer Radiohead proved they can take something seemingly simple and make it mesmerizing, emotional, and the beginning and end of SOMETHING all at once. Amazing.
Because of all these reasons “In Rainbows” was one of my favorite records of last year, and continues to be one I am constantly listening to. Thank you boys, you brought this music listener back to what seemed like a bygone era.
One of the more overlooked albums of the year (I haven’t yet seen it on any best of year lists) was certainly Suzanne Vega’s fun, complex, and beautiful “Beauty & Crime.” A return to form after the divorce album (and therefore mostly downer) “Songs in Red & Gray,” “Beauty” is a song cycle of various New York City stories. 9-11 hangs in the background of these songs, as Vega creates characters dealing with love, loss, and the grand city itself. There’s also a new return to fun in her music, as evident in the opening track, “Zephyr & I,” about the famed graffiti artist. Acoustic guitar and persistent drums hit the forefront while Vega harmonizes with herself and even light synthesizers create a dreamlike vibe as the bridge connects to the lyric and beat driven body of the song. One of my favorites of the year.
Vega has always been a poet, and yet her words fit within her melodies so perfectly. She certainly deserves the kind of career boost that fellow 80’s singer-songwriter Aimee Mann received a couple years ago. Like Mann, she has the uncanny ability to fit the perfect words into her songs. I certainly would list her as one of my favorites of all time.
If you’re a fan of Vega’s this is essential, or of you’re just looking for a great folk-pop record, you’ve found it.
While I’ve never been a huge fan of Seal’s, I have thought he’s produced some amazing pop tracks in his career. But he really outdid himself with last year’s “System.” Wanting to return to his dance roots (including what I think are his two best songs, “Crazy” & “Killer”) he teamed up with Stuart Price (Madonna’s “Confessions on a Dance Floor”) to create a full album of pumping, shimmering, future-disco. Seal’s voice is as strong and distinct as ever, yet this time the songs meet up with the voice. Aside from a few ballads toward the end (which admittedly are part of Mr. Kiss From a Rose’s bread and butter) the album is song for song solid.
First single “Amazing” is just that, but it is not the only upbeat winner on the disc. “The Right Life” and the title track have Price’s trademark thumping, coupled with some interesting lyrics and again… Seal’s killer voice. “Loaded” is another upbeat stunner that’s been a favorite since I got the album. And I must say his debut with wife and supermodel Heidi Klum “Wedding Day” is honestly not as cringe inducing as it could have been. But I think it has something to do with their tarnish-free public persona. Good for them for surviving this ridiculous system we call “the media!”
Last night I watched something odd indeed… “The Music of Seal on Ice.” It was a benefit for Autism, with Seal sometimes singing live to backing tracks while top figure skaters (Yamaguchi, Boitano) did interpretative… well skating. I’ve never understood figure skating… actually that’s not right, I find it ridiculous, but yet I watched this entire show (the HD no doubt helped) and enjoyed it. Seal knows he’s got a good record, and is just trying to get it out there. Good man.
Song: The Girls Artist: Calvin Harris Album: I Created Disco
I have a weakness for dumb dance songs… and this was no more evident than with Calvin Harris’ debut album “I Created Disco.” One of my most-listened-to records of the year. It’s dumb for sure… the album is filled with one ridiculous line after another:
“I’ve got hugs for you, if you were born in the 80’s” “Now I don’t care what you dress like, or what you wear, but please make sure baby; you’ve got some colours in there.” “I’ve got my car, and my ride, and my wheels.” “I like them tall girls I like them short girls I like them brown haired girls I like them blonde haired girls I like them big girls I like them skinny girls I like them carrying a little bit of weight girls”
I mean… it’s also embarrassing. But if you look past the silly lyrics you find some pretty catchy, almost dumb catchy electro-pop tunes, that I have enjoyed over and over. I think there is room still for forward thinking dance music that does something new, and despite his “I created disco” claim, there is nothing very “cutting-edge” in his approach. But maybe this young twenty-something just wanted to make music to get girls to dance to… which seems more the case.
Song: The Angels Hung Around Artist: Rilo Kiley Album: Under the Blacklight
Because of the panic at major labels, indie acts are finding the chance to flourish and find new audiences with the help of the file-sharing blog community, MySpace, and well… interest from people tired of the corporate pop landscape. Rilo Kiley found themselves with each release, most likely because of this, with an ever-expanding fan base… a “word-of-blog” (of sorts) endless posts and discussions that helped find their 2004 release “More Adventurous” on top of the “new alternative” indie rock scene. But it wasn’t until lead singer Jenny Lewis’ solo record “Rabbot Fur Coat” (2006) that I started paying attention… a Southern-ish blues meets country record that was steeped in abstract religious imagery and story songs about various people with various problems. Despite what was being built with her band, “Rabbit Fur Coat” was her “A Star is Born” moment.
With the admission that “the songs on ‘Rabbit Fur Coat’ are the kind I really want to write,” fans of Rilo Kiley were wondering what the follow up would be like, especially after the official move on to major Warner Brothers Records. As indie fans do, they cried sell-out, but the surprise is confusing, as it seems that “Under the Blacklight” is exactly what we all should have expected… though it far surpassed what I thought they were, as a band, capable of.
“The Angels Hung Around” is one stand-out, an at-the-grave summation of life (and death) while a former lover is put to final rest. Lewis gets right inside a lifetime of hurt at the tender age of 31 (32 on the 8th… Happy Birthday!) and it becomes a somewhat Springsteen-esque pumping sing-a-long. It’s a stunner.
The rest of “Blacklight” is wildly varied in style and approach yet works as a whole. Fleetwood Mac is the obvious touchstone, 70’s Cali-rock where each song has it’s own movie waiting to be written. This kind of rock music (despite how catchy and melodic it is) just doesn’t find a wider audience like it should, not to mention “Breakin’ Up” has left-field-hit written all over it.
Now that we are in 2008, I thought I’d take the beginning of the New Year to look back and make note of the records and tracks I really got into over the past year. Usually I would have an official “top ten records” list, in order, blah blah blah… but this year I am being a bit more loose. So, over the next couple days or so I will highlight some stuff I thought was pretty great in 2007. Most of the stuff I’ve discussed before, but over time and many more listens have come to either appreciate, or more fully understand their genius. Song: Paper Planes Artist: M.I.A. Album: Kala
Initially when I heard tracks from “Kala” I heard the similarities to M.I.A.’s debut, a personal favorite, 2005’s “Arular.” Further listens proved that the songs cut a little bit deeper, both lyrically and sonically. And while I was initially disappointed to hear that literally every song contained a pretty major sample of some other record, most supplying the hook to the track, multiple listens made me realize that “Kala” is much more that just the some of its parts. It sounds like nothing less than an M.I.A. record. And besides, I didn’t know ONE of the samples she uses, and reminds us that “Yeah, I got more records than the K.G.B.” Respect!
Almost immediately I was taken with second-to-last track “Paper Planes.” A Clash-sampling dub-like track that features not only gun and cash register sound effects, but M.I.A. stating: “All I wanna do is (gun) and (cash register) and take your money.” While it’s infectious, it also seems to be a call to arms in our uncertain global times. It sums up the record nicely and illustrates the dichotomy of her government questioning and big talk rap-boasting. (“Some some some I some I murder, some I some I let go.”)
The song has been quite controversial, with the gun shot noises edited out by MTV (then not played) and she looked visibly off-guard when strange popping noises replaced the gun shots while performing the song live on Letterman. In a country that asks us to support war without question, why are we so offended. Maybe M.I.A.’s straight up aural terrorism scares those in power. Isn’t it easier to see woman just mocking the sexed-up girls in the video than these M.I.A. enthusiasts?
In a year that saw Kanye and 50 Cent (fake) arguing over who had the biggest and best rap record of the year in the media, M.I.A. quietly did it, opening the scope to the entire world vs. the (increasingly unimportant) Billboard Music charts.
Song: With Every Heartbeat Artist: Robyn Album: Robyn
Keeping up with European dance-pop, on top of everything else, is somewhat a difficult task. There’s just a ton of it, and many one-hit wonders that you couldn’t necessarily call “artists.” (Europe is, after all, a continent that let a cartoon frog have a huge pop hit.) While I had heard of Robyn, the Swedish pop star that got her start in the early 90’s, I had lumped her in with Debra Cox and other big vocal dance artists who’s music seems exclusively designed for gay men and whatever party they might be attending at the time. My friend Chris, whom I met in Barcelona, recently brought Robyn up, and recommended her recent self-titled album. So I picked it up and must say it’s not what I expected… mainly because it sounds nothing like Debra Cox. (A lesson to actually listen to music before you write it off.)
“Robyn” the album has an interesting history… it was originally released in Sweden in 2005 and garnered many hit singles, but was recently re-released in the U.K. with a slightly different track list, most notably the addition of “With Every Heartbeat.” With the re-release to “re-introduce” Robyn to the U.K., she chose “Konichiwa Bitches” as the first single. The song was on the original version of ‘Robyn” but was never a single in Sweden. It’s an odd song, a mix of electro-pop, hip-hop, and a vaguely Asian vibe… but it has grown on me. It did not fare so well in the U.K. though, failing to get much air or video play.
Despite the tepid reaction to “Bitches,” Robyn’s second single in the U.K., “With Every Heartbeat” has become an international hit and her best charting single to date. (and thus helping “Bitches” chart status.) The song has even begun to penetrate the U.S. dance charts. It’s quite a lush, beautiful dance song that recalls some of Kylie’s mid-tempo dance-ballads, as well as Kate Bush… whom Robyn sounds JUST like vocally on this song. The heavy strings mid-song are an interesting choice, but I find fit just perfectly as an emotional grounding before the song amps up once again with an insistent beat and Robyn’s continued mantra; “it hurts with every heartbeat.”
Song: The Way I Am Artist: Ingrid Album: Girls & Boys
A recent random discovery uncovered New York City-based singer-songwriter Ingrid Michaelson and her song “The Way I Am.” It was a random blog that I found her on but “Grey’s Anatomy” fans may recognize her music as it’s been used (like many before her) within emotional scenes for the show. (Which I have still not watched, oy.) I have been really digging the song, and happened to catch the video on Logo’s “NewNowNext” the other night. For a moment, I thought it was old MTV VJ Kennedy… but I suppose she wouldn’t have waited until NOW to start a singing career. Ingrid is also NOT Lisa Lobe…
But enough poking fun at her image… “The Way I Am” is a super pretty acoustic-based ballad that perfectly balances witty lyrics, and emotional honesty. I am not sure it has “hit” written all over it, possibly on Adult Contemporary radio… not sure.
I haven’t had a chance to listen to Michaelson’s full sophomore album “Girls & Boys” yet, though have heard good things about it. Will keep an eye out for it and let you know… in the meantime, enjoy “The Way I Am” and learn more about Ingrid via her MySpace page.
Video for “The Way I Am”
Here one of the “Grey’s Anatomy” doctors goes through a lot of problems, while scored by Ms. Michaelson!
Song: Blinded by the Light Artist: Bruce Springsteen Album: Greetings, From Asbury Park NJ
My good friend Mike and I were talking and he mentioned Bruce Springsteen’s “Blinded By the Light,” which I didn’t realize he performed. Actually, if I had guessed I would have thought that Manfred Mann, of the Manfred Mann Earth Band, would have been the songwriter of the tune but a Wikipedia search verified… I was way wrong. My thought was since Manfred’s Mann band; Manfred Mann was responsible for the mid-sixties track “Do Wah Ditty,” that he MUST be the writer just chronologically. But wrong I was… Bruce wrote the song back in 1973 for his album “Greetings From Asbury Park, NJ” and Manfred Mann’s Earth Band recorded the song in 1977, hitting the Billboard Hot 100.
In a VH1 Storytellers appearance, Springsteen mentions that their version most likely was helped to #1 by their changing of a lyric that has often been debated. In Bruce’s original, he sings “cut loose like a deuce” (as in a ’32 Ford Deuce Coupe) versus “revved up like a deuce” as Mann changed it. (And is often misheard as “revved up like a douche”) Frankly… the incorrect lyric, which EVERYONE seems to know, or actually think is the correct phrasing, doesn’t really make sense. So… of course it’s not. But I suppose that only adds to the mystery.
Regardless, Bruce’s version is stellar and I am now glad I know it exists. Something that totally tickled me when researching Wikipedia was the headline on the article for Manfred Mann the band…
“This article is about Manfred Mann the band. For Manfred Mann the man, see Manfred Mann (musician).”
I think it belongs on a t-shirt but also think whomever wrote it was having a little fun.
