News broke last week that the lead singer of OMC died at the age of 40 after following a brief illness. OMC is best known (okay, ONLY known) for their mid-90s mega-hit "How Bizarre." Anyone who was alive and old enough to drive a car in the 90s probably drove around with that one blaring, but I'll always remember the song from an episode of the short-lived TV series "Undeclared." Two female dorm roommates get in a fight because one of them plays "How Bizarre" over and over and over and over:
The other big 90s-related news is that R.E.M.'s sweet and purposefully simplistic "Everybody Hurts" has now been appropriated by Simon Cowell and the Big Hit Machine for a "Haiti Relief Single" effort that will feature pop stars like Mariah Carey, Rod Stewart, Miley Cyrus, Jon Bon Jovi and -- here it comes -- Susan Boyle. It goes without saying that Stipe's restrained (even on THIS song, which has nothing subtle about it) straightforward vocals have been replaced by melodramatic over-singing. A writer at The Quietus explains "Why 'Everybody Hurts' Is The Last Thing Haiti Needs."
Thursday, February 4, 2010
Friday, January 22, 2010
Most of my taste in current hip hop runs outside of what’s going to hit the Billboard charts, but I think it’s worth commenting on a couple new and (possibly) upcoming releases that could possibly signal a stylistic shift in pop hip hop.
The first, Kid Sister, is still fairly underground, or at least outside the mainstream. November 2009 saw the release of her first real album, Ultraviolet, which has a chance of doing well on the charts if any of her new singles can get half a chance. I should point out that her single "Pro Nails" (with a guest spot by Kanye West) did have a pop splash a couple years back, but the album took another couple years of adjustments before it came out. Kid Sister’s possible significance comes in her sound, which takes underground club jams and puts them at the forefront. Whereas most mainstream rap caters to current taste and riffs on what’s currently already popular (as the auto-tune flood and a zillion joining the crunk bandwagon before that will illustrate), she’s grabbing what only a few know about and making that the base of her overall approach. At some points, the dance element clearly dominates a song while she herself mostly provides what in most dance mixes would only be a hooky sample. Now, of course, she’s not the first to take the general approach of introducing underground sounds – every pop trend comes from somewhere, after all – but the idea of the music in a song taking just as much of the attention as the rapper isn’t being done much on Radio Rap, and it’s worth noting that she might just make it popular.
The second item isn’t quite so exciting or worth looking forward to. It’s not a surprise that Lil’ Wayne has been working on a guitar-based album, but it might actually see the light of day soon. The consensus by most actual music fans who have heard it is that most of the record is pretty awful, starting with the “Prom Girl” single on down. In some ways the overall sound is boring, reeking of 90’s mook rock rapping outfits like Linkin Park. Still, rappers don’t generally do much with rock (outside of Ice-T’s Body Count work, not really considered rap), and if this album sells, it could set a horrible trend. The one somewhat fascinating song on the record happens to be “Drop the World,” a duet with Eminem that provides the title name and shows that on occasion, Wayne’s lyrics can be not just clever, but perhaps even a little thoughtful. The motif of having reached the peak of one’s accomplishments only to find disillusion, then wanting to leave earth (either through dying or on a spaceship) and “resurrect” to try and find that high again, well, okay, so that’s a huge cliché, but the dual performance here is somewhat convincing both as autobiography and expressed frustration. It’s an angry kind of rap that really bucks the trend of popular rap, and maybe that’s why it’s the only part of the record that appeals to me even though both Eminem and Lil’ Wayne sound more tired than angry at this point. I miss when rappers got angry, even at being spoiled stars with nothing else to achieve, and that attempt provides at least something interesting in an otherwise dreadful album.
The first, Kid Sister, is still fairly underground, or at least outside the mainstream. November 2009 saw the release of her first real album, Ultraviolet, which has a chance of doing well on the charts if any of her new singles can get half a chance. I should point out that her single "Pro Nails" (with a guest spot by Kanye West) did have a pop splash a couple years back, but the album took another couple years of adjustments before it came out. Kid Sister’s possible significance comes in her sound, which takes underground club jams and puts them at the forefront. Whereas most mainstream rap caters to current taste and riffs on what’s currently already popular (as the auto-tune flood and a zillion joining the crunk bandwagon before that will illustrate), she’s grabbing what only a few know about and making that the base of her overall approach. At some points, the dance element clearly dominates a song while she herself mostly provides what in most dance mixes would only be a hooky sample. Now, of course, she’s not the first to take the general approach of introducing underground sounds – every pop trend comes from somewhere, after all – but the idea of the music in a song taking just as much of the attention as the rapper isn’t being done much on Radio Rap, and it’s worth noting that she might just make it popular.
The second item isn’t quite so exciting or worth looking forward to. It’s not a surprise that Lil’ Wayne has been working on a guitar-based album, but it might actually see the light of day soon. The consensus by most actual music fans who have heard it is that most of the record is pretty awful, starting with the “Prom Girl” single on down. In some ways the overall sound is boring, reeking of 90’s mook rock rapping outfits like Linkin Park. Still, rappers don’t generally do much with rock (outside of Ice-T’s Body Count work, not really considered rap), and if this album sells, it could set a horrible trend. The one somewhat fascinating song on the record happens to be “Drop the World,” a duet with Eminem that provides the title name and shows that on occasion, Wayne’s lyrics can be not just clever, but perhaps even a little thoughtful. The motif of having reached the peak of one’s accomplishments only to find disillusion, then wanting to leave earth (either through dying or on a spaceship) and “resurrect” to try and find that high again, well, okay, so that’s a huge cliché, but the dual performance here is somewhat convincing both as autobiography and expressed frustration. It’s an angry kind of rap that really bucks the trend of popular rap, and maybe that’s why it’s the only part of the record that appeals to me even though both Eminem and Lil’ Wayne sound more tired than angry at this point. I miss when rappers got angry, even at being spoiled stars with nothing else to achieve, and that attempt provides at least something interesting in an otherwise dreadful album.
Friday, January 15, 2010
Radio Roulette
With so many thoughts and possible subjects for the next blog entry swirling around in my head, all competing for attention and focus, I decided to go with the stupidest. On goes the TV, point the remote, select the “90s” digital music channel, and write about the first full song to pop up.
As “Whatta Man” – a song I’d thought maybe I’d write about someday, anyway, trails off, I prepare. Here it comes. “I Can’t Help Falling In Love,” UB40. In the 90s, pop music had this on-again, off-again flirtation with reggae-derived hits, where we got anything from Canadian artist Snow’s “Informer” to Big Mountain’s hits and Ini Kamoze’s “Hotstepper” along the way. If you really want to learn more about UB40, Wikipedia and other sites have plenty of info, but what really stands out to me about them is that as much music as they’ve released, as long as they’ve been around (over 30 years at this point), as big as they are in the U.K., most of us in the U.S. will really only know them for their cover songs: Neil Diamond’s “Red Red Wine” (back in the 80s); The Temptations’ “The Way You Do The Things You Do” (1990),” and of course their version of our aforementioned Elvis hit as the completion of their trifecta.
Musically, this song keeps it pretty bland, fitting for its placement as a “soundtrack single” (as you may recall, countless top hits from the 90s gained their popularity by appearing on soundtracks). Gone was the edge that infused the band’s early music – keep in mind that they formed in the late 1970s, when reggae and punk shaped so much of the UK musical landscape. Even the horns, which should always add some element of excitement to a pop song, seem mechanical. That’s what makes it different from so many of the reggae-tinged hits from the 90s. Whereas Snow, Shaggy, Ini Kamoze, and even Big Mountain exuded a danger, an exotic sexuality that fit well on a mixtape in between gangster rap songs, this bland cover of an Elvis ballad became an instant adult contemporary staple alongside Richard Marx and Michael Bolton. Wander around in a grocery store or office building long enough and you’ll hear it, then instantly forget it.
As “Whatta Man” – a song I’d thought maybe I’d write about someday, anyway, trails off, I prepare. Here it comes. “I Can’t Help Falling In Love,” UB40. In the 90s, pop music had this on-again, off-again flirtation with reggae-derived hits, where we got anything from Canadian artist Snow’s “Informer” to Big Mountain’s hits and Ini Kamoze’s “Hotstepper” along the way. If you really want to learn more about UB40, Wikipedia and other sites have plenty of info, but what really stands out to me about them is that as much music as they’ve released, as long as they’ve been around (over 30 years at this point), as big as they are in the U.K., most of us in the U.S. will really only know them for their cover songs: Neil Diamond’s “Red Red Wine” (back in the 80s); The Temptations’ “The Way You Do The Things You Do” (1990),” and of course their version of our aforementioned Elvis hit as the completion of their trifecta.
Musically, this song keeps it pretty bland, fitting for its placement as a “soundtrack single” (as you may recall, countless top hits from the 90s gained their popularity by appearing on soundtracks). Gone was the edge that infused the band’s early music – keep in mind that they formed in the late 1970s, when reggae and punk shaped so much of the UK musical landscape. Even the horns, which should always add some element of excitement to a pop song, seem mechanical. That’s what makes it different from so many of the reggae-tinged hits from the 90s. Whereas Snow, Shaggy, Ini Kamoze, and even Big Mountain exuded a danger, an exotic sexuality that fit well on a mixtape in between gangster rap songs, this bland cover of an Elvis ballad became an instant adult contemporary staple alongside Richard Marx and Michael Bolton. Wander around in a grocery store or office building long enough and you’ll hear it, then instantly forget it.
Tuesday, December 8, 2009
Not Just 90s Mailbag
In our inaugural edition of the Mailbag (not actual segment name) we'll answer the story behind the phrase in a popular Christmas song. Please note that this wasn't actually sent to this blog, but rather posted open and publicly on Facebook (and not really addressed to me).
Michial Farmer (of "Ladder on Wheels" blog) writes:
A question (and for some reason I'm assuming @Al Kammerer will know the answer): In the Chuck Berry Christmas classic "Run Rudolph Run," who or what is Randolph, as in "Run, run, Rudolph / Randolph can't be far behind"?
Here's my answer:
It's a reference to Randolph Hearst's attempt to gain control of the Christmas business from Santa Claus & Co. A big part of this was that Hearst claimed his delivery system would be faster and more efficient. One year in particular, Hearst and cronies challenged Santa's crew to a "delivery race." Randolph Hearst lost, of course, but the race was close at one point, and Santa's crew really did know that "Randolph can't be far behind."
Need music questions answered? Need your taste challenged or confirmed? Send me a note or post a comment.
Michial Farmer (of "Ladder on Wheels" blog) writes:
A question (and for some reason I'm assuming @Al Kammerer will know the answer): In the Chuck Berry Christmas classic "Run Rudolph Run," who or what is Randolph, as in "Run, run, Rudolph / Randolph can't be far behind"?
Here's my answer:
It's a reference to Randolph Hearst's attempt to gain control of the Christmas business from Santa Claus & Co. A big part of this was that Hearst claimed his delivery system would be faster and more efficient. One year in particular, Hearst and cronies challenged Santa's crew to a "delivery race." Randolph Hearst lost, of course, but the race was close at one point, and Santa's crew really did know that "Randolph can't be far behind."
Need music questions answered? Need your taste challenged or confirmed? Send me a note or post a comment.
Monday, September 28, 2009
Busy Billy Corgan
Ever one for grand statements, Billy Corgan recently announced that the forthcoming Smashing Pumpkins record will, in fact, be a series of songs released free via the internet, sold as veryvery limited edition EPs, and eventually collected into a boxed set album. While most of his fans would just be content for a lot less grandeur and bombast at this point, Corgan hath decreed that the 44 songs of Teargarden by Kaleidyscope will somehow tie in with the Tarot characters and represent the human journey of life.
In all seriousness (and while I can't help but be skeptical about this project), I have to admire Corgan's approach to releasing his new work. Given the record industry's continuing efforts to shoot itself in the head, his plan to give away music in hopes of luring fans to buy the collections serves as another example of creative ways to show fan appreciation while also trying to make a living from music (Radiohead, NIN, and even His Name Is Alive have also shown great ideas). Many music fans were disappointed with Corgan's recent appearance in Congress to support one of the RIAA's recent attempts to kill its own industry (though the idea of artists/authors getting paid for their music to be paid on the radio isn't necessarily bad in and of itself), so the current project news should be especially welcomed.
One last piece of news: On 09/09/09, Mr. Corgan launched "Everything From Here To There," a website dedicated to thoughts on spirituality and "Mind-Body-Soul/Spirit integration" in particular. Topics so far include Jesus Christ, lunar phases, the Wizard of Oz, war/fighting, and The Beatles. The site might be summed up by one of its best phrases so far, "my new found affinity for God and His Magic Kingdom."
A brief editorial: My generation is steeped in sarcasm, irony, and skepticism. That's who we are. Most of our writing reflects that, and I'm no exception. The recent trend of "New Sincerity" (or whatever you want to call it) notwithstanding, most of us can't help but love jokes at the expense of those who dare honesty and sincerity, something most of us are either afraid of or have no idea how to pull off ourselves. With that in mind, I really do honestly admire what seems like genuine sincerity on the part of Mr. Corgan, even when it comes off as "a bit much" or appears to just ask for mockery. He could have long ago taken the route of easily jaded alt.rock star and chosen more predictable paths, but no matter what else I enjoy or don't enjoy, I admire this particular aspect about him. I think what won me over more than anything was his appearance on the final episode of "The Bozo Show," where he sang "Forever Young" amidst the clowns.
In all seriousness (and while I can't help but be skeptical about this project), I have to admire Corgan's approach to releasing his new work. Given the record industry's continuing efforts to shoot itself in the head, his plan to give away music in hopes of luring fans to buy the collections serves as another example of creative ways to show fan appreciation while also trying to make a living from music (Radiohead, NIN, and even His Name Is Alive have also shown great ideas). Many music fans were disappointed with Corgan's recent appearance in Congress to support one of the RIAA's recent attempts to kill its own industry (though the idea of artists/authors getting paid for their music to be paid on the radio isn't necessarily bad in and of itself), so the current project news should be especially welcomed.
One last piece of news: On 09/09/09, Mr. Corgan launched "Everything From Here To There," a website dedicated to thoughts on spirituality and "Mind-Body-Soul/Spirit integration" in particular. Topics so far include Jesus Christ, lunar phases, the Wizard of Oz, war/fighting, and The Beatles. The site might be summed up by one of its best phrases so far, "my new found affinity for God and His Magic Kingdom."
A brief editorial: My generation is steeped in sarcasm, irony, and skepticism. That's who we are. Most of our writing reflects that, and I'm no exception. The recent trend of "New Sincerity" (or whatever you want to call it) notwithstanding, most of us can't help but love jokes at the expense of those who dare honesty and sincerity, something most of us are either afraid of or have no idea how to pull off ourselves. With that in mind, I really do honestly admire what seems like genuine sincerity on the part of Mr. Corgan, even when it comes off as "a bit much" or appears to just ask for mockery. He could have long ago taken the route of easily jaded alt.rock star and chosen more predictable paths, but no matter what else I enjoy or don't enjoy, I admire this particular aspect about him. I think what won me over more than anything was his appearance on the final episode of "The Bozo Show," where he sang "Forever Young" amidst the clowns.
Thursday, February 12, 2009
Short Mixtape for St. Valentine's Day
The NotJust90s St. Valentine's Day mixtape includes a few different emotions, from the contrarian "not in love" to the smooth, the silly to the sappy. I've placed all the songs onto a YouTube playlist to make it easier for everyone ((note: may not be 100% safe for work, depending on where you work). Contrary to this blog's claim of "not just 90s," I did stick with only songs from the 90s in this case, basically so I wouldn't still be working on the list come March. Tracklist and "liner notes" below.
1. Belle & Sebastian -- "I Don't Love Anyone"
For me, any decent 90s mixtape automatically includes at least one Belle & Sebastian song. In this selection, we start the mixtape with the antithesis to love songs.
2. Neutral Milk Hotel -- "In the Aeroplane Over the Sea"
This song feels like being in love, full of lyrical fantasy, ridiculous ideas, and musical richness.
3. Sade -- "I Couldn't Love You More"
We shift to a track that runs in the opposite direction in every way except the sentiment; with a somewhat minimalist paint-by-numbers jazz production behind Sade's creamy vocals delivering very straight-ahead words that, while not exactly poetic or clever, are somewhat refreshing in their attempt to just say something without resorting to meaningless cliches (at least not too many).
4. The Muffs -- "I Need You"
If Sade put you to sleep, The Muffs will wake you back up. Even with a couple men in the band, The Muffs still manage to deliver a love song in true riot grrrl style.
5. A Tribe Called Quest -- "Bonita Applebaum"
Whereas the last few love songs have featured "Me to You" lyrics that can work as a musical valentine, here's a somewhat voyeuristic view into Q-Tip's love for a woman named Bonita, complete with catchy hooks sure to stick in your head...
6. The Magnetic Fields -- "A Chicken With Its Head Cut Off"
We hear Stephin Merritt's fantastic songwriting on display as he provides a fairly accurate - if absurd - portrayal of being in love. My apologies for the disturbing (though work-safe) accompanying video -- this was the only version I could find that would work on the playlist.
7. R.E.M. -- "At My Most Beautiful"
Not a typical R.E.M. track, but one of my favorites; not only for the Pet Sounds style rhythms and harmonies, but especially for the strange blend of sincerity and description of small moments rather than bold proclamations and the usual cliches.
1. Belle & Sebastian -- "I Don't Love Anyone"
For me, any decent 90s mixtape automatically includes at least one Belle & Sebastian song. In this selection, we start the mixtape with the antithesis to love songs.
2. Neutral Milk Hotel -- "In the Aeroplane Over the Sea"
This song feels like being in love, full of lyrical fantasy, ridiculous ideas, and musical richness.
3. Sade -- "I Couldn't Love You More"
We shift to a track that runs in the opposite direction in every way except the sentiment; with a somewhat minimalist paint-by-numbers jazz production behind Sade's creamy vocals delivering very straight-ahead words that, while not exactly poetic or clever, are somewhat refreshing in their attempt to just say something without resorting to meaningless cliches (at least not too many).
4. The Muffs -- "I Need You"
If Sade put you to sleep, The Muffs will wake you back up. Even with a couple men in the band, The Muffs still manage to deliver a love song in true riot grrrl style.
5. A Tribe Called Quest -- "Bonita Applebaum"
Whereas the last few love songs have featured "Me to You" lyrics that can work as a musical valentine, here's a somewhat voyeuristic view into Q-Tip's love for a woman named Bonita, complete with catchy hooks sure to stick in your head...
6. The Magnetic Fields -- "A Chicken With Its Head Cut Off"
We hear Stephin Merritt's fantastic songwriting on display as he provides a fairly accurate - if absurd - portrayal of being in love. My apologies for the disturbing (though work-safe) accompanying video -- this was the only version I could find that would work on the playlist.
7. R.E.M. -- "At My Most Beautiful"
Not a typical R.E.M. track, but one of my favorites; not only for the Pet Sounds style rhythms and harmonies, but especially for the strange blend of sincerity and description of small moments rather than bold proclamations and the usual cliches.
Wednesday, February 11, 2009
With the economy down the toilet, unemployment rising higher, and a few other difficulties left over from the past 8 years, I understand why so many of us stay stuck in the 90's even when it comes to music. Even so, early in 2009 something changed to give us hope and reason to keep going. That something is Microsoft Songsmith. For those who haven't heard yet, Songsmith is computer software that allows users to record their own vocals, which Songsmith then takes and builds accompanying music around them to create instant songs.
The joy of Songsmith doesn't really lie in the ability for untalented off-key caterwaulers to still make their own music. Rather, the true fun of Microsoft Songsmith comes in taking the vocals from popular songs, running them through the software, then LOLing at the results (particularly when video is involved).
A few of my favorites:
Queen's "We Will Rock You" turned Latin pop.
"White Wedding"...in Kentucky.
"Crazy Train Polka" -- if only we could get Ozzy in lederhosen.
Soulja Boy cranks it Barney-style.
Lil Wayne's "A Milli" remix for entry into the TimeLife Soft 70's Ballads collection. (uncensored)
The joy of Songsmith doesn't really lie in the ability for untalented off-key caterwaulers to still make their own music. Rather, the true fun of Microsoft Songsmith comes in taking the vocals from popular songs, running them through the software, then LOLing at the results (particularly when video is involved).
A few of my favorites:
Queen's "We Will Rock You" turned Latin pop.
"White Wedding"...in Kentucky.
"Crazy Train Polka" -- if only we could get Ozzy in lederhosen.
Soulja Boy cranks it Barney-style.
Lil Wayne's "A Milli" remix for entry into the TimeLife Soft 70's Ballads collection. (uncensored)
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