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Jun 9, 2008
May 20, 2008
The Next Big Useless Comparison
Not to put too blunt a criticism on the music press, but can't they come up with some decent analogy's? I mean sure, music is a pretty hard thing to pin down, and I respect a lot of what they're trying to achieve by making comparisons. But the biggest shortcut to thinking has got to be the labelling of some new band or singer as "The Next XXXXXXXX" or "America's answer to XXXXXXXXX"
As I said, its pretty hard for reviewers to continually come up with new ways of describing music. Some do it well. Pitchfork (despite all their hipstery) the AV Club, and Drowned In Sound all put out good reviews. And don't get me wrong - theres value in making comparisons, it allows us to have a point of reference.
What I'm getting at is those reviewers who dismiss something instantly. Put in in a "same" box without weighing its own merits. Specifically, new UK Soul Singer Duffy seems to have fallen into this trap. Its not hard to see comparisons between Duffy and Amy Winehouse, they both sing Neo-Soul, have a retro sound and look, and to be completely fair, both released fairly similar hooky singles.
But a quick listen through Duffy's album, 'Rockferry' reveals an altogether different artist. Whereas Winehouse pulls a retro soul influence in her style, and lavishes in a rebellious image, Duffy actively seems to be trying to BE a soul singer of old. Amy Winehouse might be channeling the spirit of 60's and 70's northern soul, but Duffy appears to want to carve herself a place among them.
So, calling Duffy "The Next Amy Winehouse" sells everyone short. Winehouse, who's music has its own merit, Duffy, who is trying to build a career in an insanely competitive industry, listeners who need good commentary to make a decision, and most of all the writers themselves, who come across as having made a lame shortcut instead of actually trying to come up with something constructive and intelligent to write about an artist.
Anyway, here's something from Duffy...
As I said, its pretty hard for reviewers to continually come up with new ways of describing music. Some do it well. Pitchfork (despite all their hipstery) the AV Club, and Drowned In Sound all put out good reviews. And don't get me wrong - theres value in making comparisons, it allows us to have a point of reference.
What I'm getting at is those reviewers who dismiss something instantly. Put in in a "same" box without weighing its own merits. Specifically, new UK Soul Singer Duffy seems to have fallen into this trap. Its not hard to see comparisons between Duffy and Amy Winehouse, they both sing Neo-Soul, have a retro sound and look, and to be completely fair, both released fairly similar hooky singles.
But a quick listen through Duffy's album, 'Rockferry' reveals an altogether different artist. Whereas Winehouse pulls a retro soul influence in her style, and lavishes in a rebellious image, Duffy actively seems to be trying to BE a soul singer of old. Amy Winehouse might be channeling the spirit of 60's and 70's northern soul, but Duffy appears to want to carve herself a place among them.
So, calling Duffy "The Next Amy Winehouse" sells everyone short. Winehouse, who's music has its own merit, Duffy, who is trying to build a career in an insanely competitive industry, listeners who need good commentary to make a decision, and most of all the writers themselves, who come across as having made a lame shortcut instead of actually trying to come up with something constructive and intelligent to write about an artist.
Anyway, here's something from Duffy...
May 16, 2008
May 8, 2008
Poor little, oft neglected blog
It's been a while, but these fingers have been putting themselves to better use. Sorta. I've been doing a lot of letter writing to friends at home and abroad. Just cos.
Anyhoo, now I'm back, feeling particularly sarcastic and with a head full of 90's metal to give you an insight into my roots, such as they are.
Yes, the simple truth of it is, I was a teenage metaler. Sure, in the late 80's I was listening to what most 10 year olds listened to. A random selection of crap that I saw on TV and liked the videos for. Yes good ol' RTR Countdown. In fact as I started intermediate I was favouring the current style of pop/r&b - Color Me Badd, Snap and countless other atrocities that represented popular music circa 1990.
Then I met a dude who share with me the delights of metal.
Ozzy Osborne was first, rapidly followed by Iron Maiden and Motorhead. I was enthralled. Sure, I'd heard metal before. I was a fan of Def Leppards Hysteria, and of course Guns N Roses had released Appetite for Destruction a couple of years earlier, but never to this scale.
I started getting into other metal acts, more of the time. Faith No More, Prong, Sepultura, White Zombie and Pantera. Oh yes, groove metal. Turns out that I got into metal just at the right time. The bad old days of 80's Glam were behind us, and the unspeakable horror of nu-metal hadn't even been conjured up by the evil sods in corporate music HQ. There are those who argue that metal reached its zenith in the 80's with the powerhouses of thrash - Metallica, Megadeth, Anthrax and Slayer. I would argue that those people live in an alternate reality where they don't understand what good metal is. I would also argue that most of those bands released their best work in the 90's. Anthrax pulled the intense 'Sound of White Noise' out of the bag. Megadeth's 'Countdown to Extinction', and Slayer unleashed 'Seasons in the Abyss'.
Older legends of the genre aside, a new new breed of metal was forming. Inspired by the 80's thrash scene, Pantera released 'Cowboys from Hell'. Machine Head, Sepultura and White Zombie all put out brilliant albums in this style.
Nirvana's emergence as the 'next big thing' (oh how I loathe Corporate music HQ) signalled the beginning of some of the best hard music of the decade - Soundgarden and the fantastic Alice In Chains all led the charge, and other more punk influenced hardcore like Biohazard and Helmet stayed underground.
And after than it all fell apart. Bodycount influenced rap metal and all of a sudden the decade was drawing to a close and we had the abomination that is nu-metal.
Heres a wicked track called 'Walk' off Panteras best album 'Vulgar Display of Power' to get you rockin.
Anyhoo, now I'm back, feeling particularly sarcastic and with a head full of 90's metal to give you an insight into my roots, such as they are.
Yes, the simple truth of it is, I was a teenage metaler. Sure, in the late 80's I was listening to what most 10 year olds listened to. A random selection of crap that I saw on TV and liked the videos for. Yes good ol' RTR Countdown. In fact as I started intermediate I was favouring the current style of pop/r&b - Color Me Badd, Snap and countless other atrocities that represented popular music circa 1990.
Then I met a dude who share with me the delights of metal.
Ozzy Osborne was first, rapidly followed by Iron Maiden and Motorhead. I was enthralled. Sure, I'd heard metal before. I was a fan of Def Leppards Hysteria, and of course Guns N Roses had released Appetite for Destruction a couple of years earlier, but never to this scale.
I started getting into other metal acts, more of the time. Faith No More, Prong, Sepultura, White Zombie and Pantera. Oh yes, groove metal. Turns out that I got into metal just at the right time. The bad old days of 80's Glam were behind us, and the unspeakable horror of nu-metal hadn't even been conjured up by the evil sods in corporate music HQ. There are those who argue that metal reached its zenith in the 80's with the powerhouses of thrash - Metallica, Megadeth, Anthrax and Slayer. I would argue that those people live in an alternate reality where they don't understand what good metal is. I would also argue that most of those bands released their best work in the 90's. Anthrax pulled the intense 'Sound of White Noise' out of the bag. Megadeth's 'Countdown to Extinction', and Slayer unleashed 'Seasons in the Abyss'.
Older legends of the genre aside, a new new breed of metal was forming. Inspired by the 80's thrash scene, Pantera released 'Cowboys from Hell'. Machine Head, Sepultura and White Zombie all put out brilliant albums in this style.
Nirvana's emergence as the 'next big thing' (oh how I loathe Corporate music HQ) signalled the beginning of some of the best hard music of the decade - Soundgarden and the fantastic Alice In Chains all led the charge, and other more punk influenced hardcore like Biohazard and Helmet stayed underground.
And after than it all fell apart. Bodycount influenced rap metal and all of a sudden the decade was drawing to a close and we had the abomination that is nu-metal.
Heres a wicked track called 'Walk' off Panteras best album 'Vulgar Display of Power' to get you rockin.
Apr 15, 2008
Backtracking
Recently I had a discussion with a friend, who was introducing me to some new-old music. I'd played on our radio show a track by Stevie Wonder - "If You Really Loved Me", and he asked me if I'd heard the track "As". I confessed that I had not (or thought I hadn't) and admitted that I was pretty unfamiliar with Stevie Wonder as a whole. He played "As" which it turned out I had heard, but never associated with the braided, cheesy slightly cliched Pop/R&B artist I knew in the 80's. He suggested that I become familiar with Stevie Wonder's back catalogue, something which I'm getting great pleasure out of doing at the moment.
This made me think of 2 things which have been rattling around in my head lately. The first being; the methodology of going back to find out more. OK so that sounds pretty boring, but there's a huge reward to be had by starting at a point in musical history and tracing its roots. Theres obviously a huge number of ways about going about this - hitting wikipedia, checking out similar artists, stylistic roots, tracking down the music (god bless itunes) and giving it a spin. Going to a record labels website and finding out what they do. That probably works better in the case of smaller record labels, but I'm hoping that if you're reading this you're musical interest extends beyond what SONY/BMG is pumping this month.
There's always the old fashioned "recommendation" but apart from brief encounters with the few people I know who KNOW music, thats a pretty mute point personally. Maybe you know people who give a shit about music. Maybe you are one - in which case... any suggestions?
My tastes are eclectic, even by modern standards. I'll listen to (this mornings selection for example) Emerson, Lake and Palmers "Brain Salad Surgery" album, followed with Christian Prommer's Drumlession, Radiohead (Airbag/How Am I Driving EP in case you're wondering) Atmospheres "Strictly Leakage" which you can get here, and finally Stevie Wonder's "Songs In The Key of Life". I love all of those records, all for their own reason, and no, I don't have a problem with that. So if you've got something you think I might like or should listen to, PLEASE feel free to offer something.
I think this is my point here - I'm pretty hard to recommend stuff to unless you know your shit, because I've probably either heard it and given it a place in my heart (or on my ipod) or already have a pre-disposition to it. Which brings me on to the 2nd thing I want to crap on about - the bad ol' 80's and the way that my opinions are jaded or shaded by artists recording then.
As it turns out, Stevie Wonder is a prolific cat. He's been making pretty damn good music since 1962. When he was like 12 or something. At the ripe old age of 21 his contract with motown rolled to a close, so this dude went out on his own, recorded "Innervisions" an album so damn fine that, (remember that I've only just gotten into him so I don't have a pre-formed opinion to his early material. Mostly I haven't heard it before) to me this sounds fresh, funky, exciting and considerably better than todays piss poor excuse for R&B.
Arguably, anyone who had never heard a Michael Jackson record from the early 80's might think the same, but my issue here is that I grew up in the 80's, so my first impressions of a lot of artists (Jackson excluded because I don't think anyone will deny the brilliance of "Thriller" or "Off the Wall") was them floundering with stylistic and technological changes that took place in the 80's pop scene.
In the instance of Stevie Wonder, we're left to consider "Ebony and Ivory", a trite cliched duet with another seasoned artist trying to find relevance, Paul Mcartney. It seems that a swag of musicians got swept along in this trend. I can cite most established rock and pop acts here. Music just started doing its own thing. Sure, many artists did well, but they were almost universally artists who performed within the new styles, having never recorded previously. Shit, the entire GENRE of jazz turned into a pale mockery of itself.
Its been true since too. Veterans struggle to re-invent themselves and thus remain relevant. Madonna, an 80's superstar floundered in the electronic pop scene of the 90's. I can scarcely even think of a 90's artist that's remained relevant through until today.
That doesn't exclude their previous body of work. In fact I'm suggesting quite the opposite - that back catalogues CAN be relevant today, and could indeed be more so if it weren't for that particular artist tarnishing their output by getting too carried away but whats current.
Anyway, thats enough rambling for today - heres some Stevie, sounding amazing.
This made me think of 2 things which have been rattling around in my head lately. The first being; the methodology of going back to find out more. OK so that sounds pretty boring, but there's a huge reward to be had by starting at a point in musical history and tracing its roots. Theres obviously a huge number of ways about going about this - hitting wikipedia, checking out similar artists, stylistic roots, tracking down the music (god bless itunes) and giving it a spin. Going to a record labels website and finding out what they do. That probably works better in the case of smaller record labels, but I'm hoping that if you're reading this you're musical interest extends beyond what SONY/BMG is pumping this month.
There's always the old fashioned "recommendation" but apart from brief encounters with the few people I know who KNOW music, thats a pretty mute point personally. Maybe you know people who give a shit about music. Maybe you are one - in which case... any suggestions?
My tastes are eclectic, even by modern standards. I'll listen to (this mornings selection for example) Emerson, Lake and Palmers "Brain Salad Surgery" album, followed with Christian Prommer's Drumlession, Radiohead (Airbag/How Am I Driving EP in case you're wondering) Atmospheres "Strictly Leakage" which you can get here, and finally Stevie Wonder's "Songs In The Key of Life". I love all of those records, all for their own reason, and no, I don't have a problem with that. So if you've got something you think I might like or should listen to, PLEASE feel free to offer something.
I think this is my point here - I'm pretty hard to recommend stuff to unless you know your shit, because I've probably either heard it and given it a place in my heart (or on my ipod) or already have a pre-disposition to it. Which brings me on to the 2nd thing I want to crap on about - the bad ol' 80's and the way that my opinions are jaded or shaded by artists recording then.
As it turns out, Stevie Wonder is a prolific cat. He's been making pretty damn good music since 1962. When he was like 12 or something. At the ripe old age of 21 his contract with motown rolled to a close, so this dude went out on his own, recorded "Innervisions" an album so damn fine that, (remember that I've only just gotten into him so I don't have a pre-formed opinion to his early material. Mostly I haven't heard it before) to me this sounds fresh, funky, exciting and considerably better than todays piss poor excuse for R&B.
Arguably, anyone who had never heard a Michael Jackson record from the early 80's might think the same, but my issue here is that I grew up in the 80's, so my first impressions of a lot of artists (Jackson excluded because I don't think anyone will deny the brilliance of "Thriller" or "Off the Wall") was them floundering with stylistic and technological changes that took place in the 80's pop scene.
In the instance of Stevie Wonder, we're left to consider "Ebony and Ivory", a trite cliched duet with another seasoned artist trying to find relevance, Paul Mcartney. It seems that a swag of musicians got swept along in this trend. I can cite most established rock and pop acts here. Music just started doing its own thing. Sure, many artists did well, but they were almost universally artists who performed within the new styles, having never recorded previously. Shit, the entire GENRE of jazz turned into a pale mockery of itself.
Its been true since too. Veterans struggle to re-invent themselves and thus remain relevant. Madonna, an 80's superstar floundered in the electronic pop scene of the 90's. I can scarcely even think of a 90's artist that's remained relevant through until today.
That doesn't exclude their previous body of work. In fact I'm suggesting quite the opposite - that back catalogues CAN be relevant today, and could indeed be more so if it weren't for that particular artist tarnishing their output by getting too carried away but whats current.
Anyway, thats enough rambling for today - heres some Stevie, sounding amazing.
Mar 31, 2008
Mar 27, 2008
Modern Pop Life
Am I missing something?
What is with the state of "pop" music these days. Oh god I know I sound like a grumpy old man - and that may be closer to the truth than I'm prepared to accept, but seriously, the division between the musical "enlightened" and the masses seems to be widening. And this at a time when most music-files happily acknowledge themselves as having eclectic tastes.
I'm not sure if I should be happy or sad. Am I missing out on anything worthwhile by excluding myself from the realm of pop? Any precursory glance tells me that I'm not, but surely the current charts hold at least the occasional gem.
Respected and revered names in the music press (not least of all those marvelous chaps at the AV Club) seem to insist that there are more than a FEW gems to be found. Although I tent to disagree, I do note that the AV Club heaps all contemporary releases together in a broader sense. They're quite happy to review, say the new Raconteurs alongside Snoop Dogg.
While both of these artists fit within the Pop lexicon in a broader sense, neither make music specifically for the pop market (maybe Snoop does, but thats a different story altogether). What I'm taking exception to is the swag of "artists" in the Pop/R&B/Hip-Hop genres pumping out samey music year after year. It makes me think of some kinda chinese forced labour factory where producers and ghostwriters are forced to sit in appalling conditions churning out cheap knock-offs of REAL music.
Its not like the whole "ghost writing" technique isn't a valid or successful means to a musical ends. I don't (unlike many others) think that musical talent lies solely in the songwriting. A talented musician may be just that, and to no less credit to themselves. What I'm talking about is the generic rabble that fills the current charts. Synth/Hip Hop beat, R&B vocals and over-sexualised dancing. Everyone from Britney Spears to Chris Brown is caught in this web.
Maybe its the target demographic - without wanting to slam on any particular age group its easy to see how young people are easily sold on image, but that seems like a cop out. Young men will always listen to rebellious music (in my day it was Green Day and The Offspring) and young girls will always be wooed by pop sweet-hearts and crooners, but it wasn't always this bad.
Pop in the 60's can still be entertaining, and fun. The 70's showed their worth with the lingering influences of soul, funk and to an extent, punk rock. The 80's featured (despite being an overall ridiculous decade - but thats the topic of another post) a swag on artists who hold their own to this very day. That seems to be when it all fell down - pun intended.
People seem all to ready to accept that the "poor old" music industry is going through some turmoil. Few seem ready to accept that its the industry itself thats the cause. Why should people go out and buy new music when its just so banal at the moment. Pop SHOULD be enjoyable, not drivel. Try something new instead of pumping pointless fads, or samey junk.
Mostly, burn those Britney CD's.
What is with the state of "pop" music these days. Oh god I know I sound like a grumpy old man - and that may be closer to the truth than I'm prepared to accept, but seriously, the division between the musical "enlightened" and the masses seems to be widening. And this at a time when most music-files happily acknowledge themselves as having eclectic tastes.
I'm not sure if I should be happy or sad. Am I missing out on anything worthwhile by excluding myself from the realm of pop? Any precursory glance tells me that I'm not, but surely the current charts hold at least the occasional gem.
Respected and revered names in the music press (not least of all those marvelous chaps at the AV Club) seem to insist that there are more than a FEW gems to be found. Although I tent to disagree, I do note that the AV Club heaps all contemporary releases together in a broader sense. They're quite happy to review, say the new Raconteurs alongside Snoop Dogg.
While both of these artists fit within the Pop lexicon in a broader sense, neither make music specifically for the pop market (maybe Snoop does, but thats a different story altogether). What I'm taking exception to is the swag of "artists" in the Pop/R&B/Hip-Hop genres pumping out samey music year after year. It makes me think of some kinda chinese forced labour factory where producers and ghostwriters are forced to sit in appalling conditions churning out cheap knock-offs of REAL music.
Its not like the whole "ghost writing" technique isn't a valid or successful means to a musical ends. I don't (unlike many others) think that musical talent lies solely in the songwriting. A talented musician may be just that, and to no less credit to themselves. What I'm talking about is the generic rabble that fills the current charts. Synth/Hip Hop beat, R&B vocals and over-sexualised dancing. Everyone from Britney Spears to Chris Brown is caught in this web.
Maybe its the target demographic - without wanting to slam on any particular age group its easy to see how young people are easily sold on image, but that seems like a cop out. Young men will always listen to rebellious music (in my day it was Green Day and The Offspring) and young girls will always be wooed by pop sweet-hearts and crooners, but it wasn't always this bad.
Pop in the 60's can still be entertaining, and fun. The 70's showed their worth with the lingering influences of soul, funk and to an extent, punk rock. The 80's featured (despite being an overall ridiculous decade - but thats the topic of another post) a swag on artists who hold their own to this very day. That seems to be when it all fell down - pun intended.
People seem all to ready to accept that the "poor old" music industry is going through some turmoil. Few seem ready to accept that its the industry itself thats the cause. Why should people go out and buy new music when its just so banal at the moment. Pop SHOULD be enjoyable, not drivel. Try something new instead of pumping pointless fads, or samey junk.
Mostly, burn those Britney CD's.
Mar 19, 2008
You Poor Darlings
OK, I know its been AGES since you last heard from me. I wish I had been able to write sooner, but things have been a little out of control over here in creative land.
Mostly, I got an upgrade to my Mac, but in doing so had to delete my iTunes Library. "No Problems", I thought, I'll just back it up again off my ipod. And what happens when I plug my ipod in...
Crash.
No more ipod, no more music. Gone.
Ok, so I have backups - scattered across the land on DVD, but not a complete set. The hours of love and toil I'd put in to making a cohesive library all gone.
I did NOT break down - I am a man of action, so I hunted and probed and studied and experimented and rebooted many-a-time.
And this morning - Success! There are still some bad sectors on the ipod, and I've lost a few tracks, but for the most part we're back in business. As we speak (well... as you read and as I type) order is being restored. 2nd back ups will be made. You'll have to make do with this as your only pre-easter post, but because I love you all - heres a little entertaining piece to keep you happy till my return. Peace.
... speechless? Cos NOTHING says Badass like one leg in the air.
Mostly, I got an upgrade to my Mac, but in doing so had to delete my iTunes Library. "No Problems", I thought, I'll just back it up again off my ipod. And what happens when I plug my ipod in...
Crash.
No more ipod, no more music. Gone.
Ok, so I have backups - scattered across the land on DVD, but not a complete set. The hours of love and toil I'd put in to making a cohesive library all gone.
I did NOT break down - I am a man of action, so I hunted and probed and studied and experimented and rebooted many-a-time.
And this morning - Success! There are still some bad sectors on the ipod, and I've lost a few tracks, but for the most part we're back in business. As we speak (well... as you read and as I type) order is being restored. 2nd back ups will be made. You'll have to make do with this as your only pre-easter post, but because I love you all - heres a little entertaining piece to keep you happy till my return. Peace.
... speechless? Cos NOTHING says Badass like one leg in the air.
Mar 6, 2008
The Rise and Fall of Calvin Broadus Jr.
Calvin Broadus Jr. - better known as Snoop Dogg (formerly Snoop Doggy Dogg) EXPLODED onto the music scene in 1992 on the back of the highly anticipated solo debut of Dr Dre. Featuring some of the hottest beats and best rhymes around "The Chronic" showcased Snoop's ultra smooth flow on top of Dre's hot G-Funk production.
Suddenly the world took notice:
"The Chronic" featured as much of Snoop's rapping as Dre's and helped set the stage for the release of "Doggystyle" a year later. Within weeks "Whats My Name" had shot to the top of the charts, and "Gin and Juice" was getting heavy rotation on Radio and MTV. The album hit number 1 on the Billboard (knocking out Pearl Jam's "Ten") and Snoop was the hottest act around.
"Tha Doggfather" was released 2 years later to mixed reviews, despite featuring a more evolved flow, and some bumpin' production by Daz Dillinger.
Trouble within Death Row records saw Snoop looking for a new label, eventually signing with No Limit Records. A couple of sub-par releases owing to poor production and lack-luster guest vocals meant that the spotlight was off Snoop for a few years, and it looked like he was fading into obscurity with rest of the 90's rappers(Wu Tang excluded).
Then - hailed as a "return to form" he releases "R&G". Stylistically, its a complete change of direction, featuring more soul and R&B style production helped out but the Neptunes, and a HUGE single "Drop It Like Its Hot".
Ok - so I grant you that its an awesome single. The album is hard to listen to from start to finish, and Snoops rhymes struggle to match up to the production. Then "Tha Blue Carpet Treatment" comes along featuring the most unlikley guests in the business. Akon??? Come off it. R Kelly??? SERIOUS??? Dang.
Then...this:
Snoop, dogg, I dig you man. You were the first hip hop artist I got into properly. I have nothing but respect. I'll keep buying your records, and admiring your durability in a fast turning industry, but bro... You GOTTA drop the vocal adjuster. Its a gimmick dude.
Suddenly the world took notice:
"The Chronic" featured as much of Snoop's rapping as Dre's and helped set the stage for the release of "Doggystyle" a year later. Within weeks "Whats My Name" had shot to the top of the charts, and "Gin and Juice" was getting heavy rotation on Radio and MTV. The album hit number 1 on the Billboard (knocking out Pearl Jam's "Ten") and Snoop was the hottest act around.
"Tha Doggfather" was released 2 years later to mixed reviews, despite featuring a more evolved flow, and some bumpin' production by Daz Dillinger.
Trouble within Death Row records saw Snoop looking for a new label, eventually signing with No Limit Records. A couple of sub-par releases owing to poor production and lack-luster guest vocals meant that the spotlight was off Snoop for a few years, and it looked like he was fading into obscurity with rest of the 90's rappers(Wu Tang excluded).
Then - hailed as a "return to form" he releases "R&G". Stylistically, its a complete change of direction, featuring more soul and R&B style production helped out but the Neptunes, and a HUGE single "Drop It Like Its Hot".
Ok - so I grant you that its an awesome single. The album is hard to listen to from start to finish, and Snoops rhymes struggle to match up to the production. Then "Tha Blue Carpet Treatment" comes along featuring the most unlikley guests in the business. Akon??? Come off it. R Kelly??? SERIOUS??? Dang.
Then...this:
Snoop, dogg, I dig you man. You were the first hip hop artist I got into properly. I have nothing but respect. I'll keep buying your records, and admiring your durability in a fast turning industry, but bro... You GOTTA drop the vocal adjuster. Its a gimmick dude.
Mar 4, 2008
Local Boy Does Good.
Things are pretty exciting in the ol' NZ music scene at the moment. Lots of great new releases and a bunch of successful acts heading to the "greener" pastures of the US and UK.
Its not necessarily a good thing - at least for us still in Kiwiland. Artists are forced into making some tough choices if they wish to live off what they do. Financially its just not an option to stick around hoping to do well of album sales and touring locally. So its either take a knock to your credibility and sell some of your songs to advertisers (Recloose, SJD) or hit the road in the hope of making it big in the international market (Mint Chicks, Liam Finn...).
They both have major drawbacks.
Say you decide that you want t o hang around, and you sell a song or 2 to advertisers. The ads play on heavy rotation in prime time, and your credibility is shot, your song becomes played to death, or you end up forever associated with some product. A huge hurdle to get over. If you're a new or up-and-coming artist is can forever tarnish your reputation.
So say you take the other route. Head off to the UK on the back of a decent release and some touring at home. You spend months away from home, usually at enourmous cost to yourself, with only a small hope of getting "noticed". You might have been able to eek out a living in NZ touring, but in Europe no-one has heard of you and no-one is booking you to play.
Still, there are some decent success stories:
Liam Finn recently ROCKED the Late Show with David Letterman
Katchafire head over to the US on the back of some decent success in Hawaii, starting with a SXSW spot at the end of this month.
Recloose has just released a sterling new album, despite having a song thrashed in a Telecom commercial a couple of years ago. (It was Telecom right?)
SJD's brilliant "Songs from a Dictaphone" album continues to be the under-rrated masterpiece of the last couple of years, never mind turning up on the Buy NZ Made campaign ads, and the Monteiths commericals.
The biggest tragedy is that the artists are forced into these corners. I'd love to hear of more NZ musicians successes.
Its not necessarily a good thing - at least for us still in Kiwiland. Artists are forced into making some tough choices if they wish to live off what they do. Financially its just not an option to stick around hoping to do well of album sales and touring locally. So its either take a knock to your credibility and sell some of your songs to advertisers (Recloose, SJD) or hit the road in the hope of making it big in the international market (Mint Chicks, Liam Finn...).
They both have major drawbacks.
Say you decide that you want t o hang around, and you sell a song or 2 to advertisers. The ads play on heavy rotation in prime time, and your credibility is shot, your song becomes played to death, or you end up forever associated with some product. A huge hurdle to get over. If you're a new or up-and-coming artist is can forever tarnish your reputation.
So say you take the other route. Head off to the UK on the back of a decent release and some touring at home. You spend months away from home, usually at enourmous cost to yourself, with only a small hope of getting "noticed". You might have been able to eek out a living in NZ touring, but in Europe no-one has heard of you and no-one is booking you to play.
Still, there are some decent success stories:
Liam Finn recently ROCKED the Late Show with David Letterman
Katchafire head over to the US on the back of some decent success in Hawaii, starting with a SXSW spot at the end of this month.
Recloose has just released a sterling new album, despite having a song thrashed in a Telecom commercial a couple of years ago. (It was Telecom right?)
SJD's brilliant "Songs from a Dictaphone" album continues to be the under-rrated masterpiece of the last couple of years, never mind turning up on the Buy NZ Made campaign ads, and the Monteiths commericals.
The biggest tragedy is that the artists are forced into these corners. I'd love to hear of more NZ musicians successes.
Feb 19, 2008
Jazz - For and Against
I was chatting to a buddy on the weekend, and he mentioned that he didn't "get" Jazz. Fair enough I thought, maybe he never gave it a go, maybe he associates Jazz with experimental fusion, or beat. Then I realised that I was talking to a man who I KNOW understands music. He likes Hip Hop (as well as a huge swag of other music) He actually REVIEWS music. Theres no reason not to at least appreciate some Jazz. I thought I'd explore this concept a little - Why should someone with a varied musical background write off a huge branch of music.
1. Jazz can be weird.
No Doubt. I actually listened to Miles Davis fusion behemoth last night - Bitches Brew. I've listened to it several times, and I'm probably only just coming round. I enjoy it at times, but its hardly accessible. Despite Miles making some of the better Jazz of the last 40 years, helping to bring be-bop out of swing, and make jazz that was still relevant in the burgeoning music scene of the 60's. In the 70's he just plain old went weird. To the uneducated this would be an obstacle, but plenty of music goes weird. Rock turned all Hair Metal in the 80's. Hip Hop still seems caught up in Crunk. Trance and Electro used to be Happy Hardcore. Weird doesn't mean its not good.
2. Jazz is dead.
OK so thats just plain wrong. "Straight" jazz may not be so popular currently, but its still around. A lot of the better hip-hop comes from jazz. Jazzanova, Blue Note Trip, Shades of Blue, and The Verve Remix all push forward the genre, albeit with a more modern, dancey slant. You've just got to listen to Café Del Mar or St Germain to here where jazz lives in the contemporary realm.
3. Jazz turned to shit in the 80's
...and for that Kenny G must be punished. Every second prick in a band was hiring a saxophonist to make up numbers, but that ain't Jazz. Thats rock with some prick on a Sax.
4. Jazz isn't cutting edge.
Jazz by its very definition is cutting edge. Check out the latest break-beats. Check out Madlib. Check out Giles Peterson. Jazz is fucking cool.
5. I just don't get it.
Theres no argument against this. For me, I just don't get Opera. But I say, give it a go. Jazz is worthwhile and rewarding.
Besides... what do you think Fat Freddies Drop are influenced by? Huh?
1. Jazz can be weird.
No Doubt. I actually listened to Miles Davis fusion behemoth last night - Bitches Brew. I've listened to it several times, and I'm probably only just coming round. I enjoy it at times, but its hardly accessible. Despite Miles making some of the better Jazz of the last 40 years, helping to bring be-bop out of swing, and make jazz that was still relevant in the burgeoning music scene of the 60's. In the 70's he just plain old went weird. To the uneducated this would be an obstacle, but plenty of music goes weird. Rock turned all Hair Metal in the 80's. Hip Hop still seems caught up in Crunk. Trance and Electro used to be Happy Hardcore. Weird doesn't mean its not good.
2. Jazz is dead.
OK so thats just plain wrong. "Straight" jazz may not be so popular currently, but its still around. A lot of the better hip-hop comes from jazz. Jazzanova, Blue Note Trip, Shades of Blue, and The Verve Remix all push forward the genre, albeit with a more modern, dancey slant. You've just got to listen to Café Del Mar or St Germain to here where jazz lives in the contemporary realm.
3. Jazz turned to shit in the 80's
...and for that Kenny G must be punished. Every second prick in a band was hiring a saxophonist to make up numbers, but that ain't Jazz. Thats rock with some prick on a Sax.
4. Jazz isn't cutting edge.
Jazz by its very definition is cutting edge. Check out the latest break-beats. Check out Madlib. Check out Giles Peterson. Jazz is fucking cool.
5. I just don't get it.
Theres no argument against this. For me, I just don't get Opera. But I say, give it a go. Jazz is worthwhile and rewarding.
Besides... what do you think Fat Freddies Drop are influenced by? Huh?
Feb 13, 2008
Just a Quickie
Just a quick wee post today - pretty busy for some reason.
A video by Okkervil River, who are coming to Auckland on the 4th March. Enjoy.
A video by Okkervil River, who are coming to Auckland on the 4th March. Enjoy.
Feb 11, 2008
Over-rated. Yeop.
In todays music scene, its hard to see why so many reviewers and critics get swept along in the hype surrounding a new release. Surely the market isn't so lacking that when lack-luster albums come out the industry types fall all over themselves to praise a less than spectacular piece. Surely? Theres a huge stack of great music that gets over looked, for sure, but thats bound to happen. We're effectively spoilt for choice in most branches of the musical tree. That doesn't excuse anything less than stellar having praise heaped upon it by every music reviewer around. I'm going to look at a few recent over-shoots, and maybe even suggest an alternative...
Exhibit A: Robert Plant & Alison Krauss - Rising Sand.
This so-so release surprised me by rocketing up the charts and into end of year lists. Any fan of Alison Krauss should feel let down by her contributions, considering the strength of her work with Union Station and the way her albums seemed to have jumped from strength to strength. Any fan of Robert Plant should be asking then what the fuck he thinks he's doing. Ok, I'm not going to begrudge him some indulgence, he's earned the right to dabble in anything, but that doesn't excuse the enormous ass-kiss this CD received upon release. It lacks the spirit of bluegrass, and the catchiness of pop. Lost in a void. NOT genre breaking. OK, so it stands up to repeat listens, and it is an OK album, no doubt. Nothing More. Suggested Alternatives. $olal - The Moonshine Sessions. Gillian Welch - Time (The Revelator)
Exhibit B: Gnarles Barkley - St Elsewhere
I was so disappointed when I heard this that I wanted to cry... and punch. No doubt, Crazy (despite being played to death on radio) is a brilliant track, showcasing Dangermouse's mastery of production and Cee-Lo's vocal talents and lyricism. But what happened to the rest of the album? Over-indulgence in the production and hit and miss vocals lost me after the first listen. This should have been a musical masterpiece. I still hold high hopes that they get together to do it again, and get it right. Suggested Alternative's. Dangerdoom - The Mouse and the Mask, Freddie Cruger - Soul Search
Exhibit C: Jack Johnson
Ok, so maybe he's not exactly a critic favourite, but his enduring and mystifying popularity has lead to sub-par album after sub-par album. Jack Johnson's appeal lies in his accessibility. Hes safe and he's easy. After Ben Harpers success the industry would have been trying to catch this new wave of soft alternative fans. But Jack "Every Song Sounds The Same" Johnson is a one trick pony, and should never have been given a multi album contract. He's makes the kind of by-the-numbers fire-on-the-beach sing alongs that any stoner with a guitar can bash out in minutes. He's the kind of musician that you'd only ever pay to listen to because hes the friend of some chick that you were trying to score and she'd promised to support him. And he has the audacity to call himself a singer/singwriter. Pah. Suggested Alternatives - Matt Costa - Songs We Sing, Sufjan Stevens - Seven Swans, Elliot Smith.
Exhibit D: Bruce Springsteen - We Shall Overcome, The Seeger Sessions
It pains me to knock an album by The Boss. In my opinion the man is a long standing genius, up there with Neil Young as a defining American Songwriter. Tragically, We Shall Overcome - Springsteens renditions of traditional folk songs written by Pete Seeger - lacks the execution to give these songs any real sensitivity. I'm disappointed that instead of the soft and emotionally complex Springsteen from Devils and Dust giving weight to these tracks, we have the more rocking Boss, blasting his way through in an almost rambunctious manner. Oh, hes clearly having fun, and the album isn't lacking any energy, but the material gets lost in the delivery. Not a bad album, but certainly nothing amazing. Suggested Alternatives - Rouges Gallery (Various), Southern Journey, O' Brother Where Art Thou (OST)
Right, thats me for today. I'd love to here from you if you've got any suggestions of your own.
Exhibit A: Robert Plant & Alison Krauss - Rising Sand.
This so-so release surprised me by rocketing up the charts and into end of year lists. Any fan of Alison Krauss should feel let down by her contributions, considering the strength of her work with Union Station and the way her albums seemed to have jumped from strength to strength. Any fan of Robert Plant should be asking then what the fuck he thinks he's doing. Ok, I'm not going to begrudge him some indulgence, he's earned the right to dabble in anything, but that doesn't excuse the enormous ass-kiss this CD received upon release. It lacks the spirit of bluegrass, and the catchiness of pop. Lost in a void. NOT genre breaking. OK, so it stands up to repeat listens, and it is an OK album, no doubt. Nothing More. Suggested Alternatives. $olal - The Moonshine Sessions. Gillian Welch - Time (The Revelator)
Exhibit B: Gnarles Barkley - St Elsewhere
I was so disappointed when I heard this that I wanted to cry... and punch. No doubt, Crazy (despite being played to death on radio) is a brilliant track, showcasing Dangermouse's mastery of production and Cee-Lo's vocal talents and lyricism. But what happened to the rest of the album? Over-indulgence in the production and hit and miss vocals lost me after the first listen. This should have been a musical masterpiece. I still hold high hopes that they get together to do it again, and get it right. Suggested Alternative's. Dangerdoom - The Mouse and the Mask, Freddie Cruger - Soul Search
Exhibit C: Jack Johnson
Ok, so maybe he's not exactly a critic favourite, but his enduring and mystifying popularity has lead to sub-par album after sub-par album. Jack Johnson's appeal lies in his accessibility. Hes safe and he's easy. After Ben Harpers success the industry would have been trying to catch this new wave of soft alternative fans. But Jack "Every Song Sounds The Same" Johnson is a one trick pony, and should never have been given a multi album contract. He's makes the kind of by-the-numbers fire-on-the-beach sing alongs that any stoner with a guitar can bash out in minutes. He's the kind of musician that you'd only ever pay to listen to because hes the friend of some chick that you were trying to score and she'd promised to support him. And he has the audacity to call himself a singer/singwriter. Pah. Suggested Alternatives - Matt Costa - Songs We Sing, Sufjan Stevens - Seven Swans, Elliot Smith.
Exhibit D: Bruce Springsteen - We Shall Overcome, The Seeger Sessions
It pains me to knock an album by The Boss. In my opinion the man is a long standing genius, up there with Neil Young as a defining American Songwriter. Tragically, We Shall Overcome - Springsteens renditions of traditional folk songs written by Pete Seeger - lacks the execution to give these songs any real sensitivity. I'm disappointed that instead of the soft and emotionally complex Springsteen from Devils and Dust giving weight to these tracks, we have the more rocking Boss, blasting his way through in an almost rambunctious manner. Oh, hes clearly having fun, and the album isn't lacking any energy, but the material gets lost in the delivery. Not a bad album, but certainly nothing amazing. Suggested Alternatives - Rouges Gallery (Various), Southern Journey, O' Brother Where Art Thou (OST)
Right, thats me for today. I'd love to here from you if you've got any suggestions of your own.
Feb 8, 2008
I'm not one to generalise...BUT...
Ok, so having just returned from a lil' international adventure I'm once again reminded of the some of the worst behaviour amongst other travelers. Ignorance.
Whenever I go abroad I endeavor to adapt and learn about other's cultures and customs - in fact I find it one of the many joys of experiencing other countries. Learning a little of the language, and respect for foreign customs goes a long way amongst the locals. It helps to experience the most of a new place. I am constantly astounded by those who seem to have the opposite attitude.
Those who travel to far off exotic locations, only to be obnoxious and disrespectful towards the locals. Those who treat their vacations as opportunities to drop common courtesy in favour of abusive and insensitive displays that I'm sure they would never consider at home. Every country has these. The English are known across Europe for being drunken louts. Aussies and Kiwis are renowned for behaving like animals on the fabled "OE". Germans and northern Europeans are renowned for hitting beaches nude at any opportunity, even if it deeply offends. Americans, aside from being loud and obnoxious have a nasty propensity for disrespect. You know the ones - they treat the locals like servants, or worse, slaves.
In my mind, the least you can do when overseas is treat the locals like equals. They're humans too. They might not speak your language, but that does not make them retarded. They might have strange customs, but believe me, your customs are equally as bizarre to them.
The beauty of strange places is that they are STRANGE. Enjoy that.
That aside, experiencing this big, amazing world is one of the most enriching things a person can do. Get out there, learn and love and respect all cultures and differences. Its our differences that make us interesting.
Whenever I go abroad I endeavor to adapt and learn about other's cultures and customs - in fact I find it one of the many joys of experiencing other countries. Learning a little of the language, and respect for foreign customs goes a long way amongst the locals. It helps to experience the most of a new place. I am constantly astounded by those who seem to have the opposite attitude.
Those who travel to far off exotic locations, only to be obnoxious and disrespectful towards the locals. Those who treat their vacations as opportunities to drop common courtesy in favour of abusive and insensitive displays that I'm sure they would never consider at home. Every country has these. The English are known across Europe for being drunken louts. Aussies and Kiwis are renowned for behaving like animals on the fabled "OE". Germans and northern Europeans are renowned for hitting beaches nude at any opportunity, even if it deeply offends. Americans, aside from being loud and obnoxious have a nasty propensity for disrespect. You know the ones - they treat the locals like servants, or worse, slaves.
In my mind, the least you can do when overseas is treat the locals like equals. They're humans too. They might not speak your language, but that does not make them retarded. They might have strange customs, but believe me, your customs are equally as bizarre to them.
The beauty of strange places is that they are STRANGE. Enjoy that.
That aside, experiencing this big, amazing world is one of the most enriching things a person can do. Get out there, learn and love and respect all cultures and differences. Its our differences that make us interesting.
Feb 7, 2008
Back in Business
Well I'm back. My summer has been awesome, filled with exciting personal events, some travel, lots of sun and booze.
So from now I'll attempt to keep this blog up dated a bit more regularly, hopefully gather a few more readers, and definitely rant on about some of the better music I've stumbled across recently.
On that note, I'd like to give a hat-tip to Colin, over at Lovers Waltz Records, firstly for running a brilliant blog, and secondly for posting me as a guest contributor for January. Its an honour. His site is great, with lots of great music in the Alt. Country, Folk, Rock and Indie realm, and thanks to him I've discovered a load of great new music.
Also - on the musical tilt, this Sunday at 7.30am (early, I know!) you'll be able to hear some of my musical selections as I hit the airwaves on George FM. Being a Sunday morning, and being a dance music radio station, I'll be keeping it light and bouncy, with a bit of funk and hip hop thrown in for good measure.
Peace, all the best for '08 and you'll hear from me soon.
So from now I'll attempt to keep this blog up dated a bit more regularly, hopefully gather a few more readers, and definitely rant on about some of the better music I've stumbled across recently.
On that note, I'd like to give a hat-tip to Colin, over at Lovers Waltz Records, firstly for running a brilliant blog, and secondly for posting me as a guest contributor for January. Its an honour. His site is great, with lots of great music in the Alt. Country, Folk, Rock and Indie realm, and thanks to him I've discovered a load of great new music.
Also - on the musical tilt, this Sunday at 7.30am (early, I know!) you'll be able to hear some of my musical selections as I hit the airwaves on George FM. Being a Sunday morning, and being a dance music radio station, I'll be keeping it light and bouncy, with a bit of funk and hip hop thrown in for good measure.
Peace, all the best for '08 and you'll hear from me soon.
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