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.
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