Single Review: Miranda Lambert's "Dead Flowers"
By: Jonathan Keefe On: 04/19/2009 17:57:38 In: Half Notes Comments: 3
What works best about Miranda Lambert's Crazy Ex-Girlfriend, the rare album that actually seems to improve over time, is its attention to broad structure: the way Lambert takes a particular word, turn of phrase, or theme from one song and uses it in a different, often inverting context elsewhere, giving the album a real depth that's often overshadowed by her outsized tales of shotgun-wielding and barroom intimidation. If she holds true to that already pretty spectacular form and continues to demonstrate this same kind of conceptual sophistication on "Dead Flowers," the first single from her third album (due in September), the track gives her plenty of material to work with and just as many reasons to be optimistic about the quality of that upcoming record. Offering a surfeit of dense, loaded phrases and sharply drawn images, the song hits with devastating accuracy because of how well Lambert sustains its central conceit. At turns blunt (there's a finality to the way she sings the line, "They're sitting in the vase/But now they're dead," in the opening verse) and poetic (the parallel she draws between the titular flowers and a string of burnt-out Christmas lights makes for a simile that's as effective as it is clever), the verses outright grieve for a failed relationship, only to explode into the refrain's barbed accusations.
If that refrain lacks a conventional lyrical or melodic hook, which makes the single more of a grower than "Kerosene" or "Gunpowder and Lead," Lambert's powerful vocal more than carries the dramatic narrative forward. Having already proven herself to be the most nuanced interpretive singer among her contemporaries, her voice has gained more substantial heft during her two years on tour, and here she provides a perfect example of well-controlled restraint. Her measured performance is matched by the song's arrangement, which, as was the case on "Gunpowder," swells in tandem with the lyrics, giving the single the kind of structural awareness seldom heard on country radio. That arrangement doesn't fit neatly into any contemporary country trends: Few pop-country acts would foreground this track's excellent steel guitar run in the mix, but the heavy drums and pulsing guitars would also scare off most traditionalists or staid Americana acts. The crescendo of ringing electric guitars and percussion in the song's final throes recalls, of all things, Coldplay's "Yellow." Whether or not that makes for a good choice for a country single remains to be seen, but "Dead Flowers" makes it clear that Lambert is more interested in forging her own artistic path than in bending to ill-fitting trends set by far lesser talents.
What works best about Miranda Lambert's Crazy Ex-Girlfriend, the rare album that actually seems to improve over time, is its attention to broad structure: the way Lambert takes a particular word, turn of phrase, or theme from one song and uses it in a different, often inverting context elsewhere, giving the album a real depth that's often overshadowed by her outsized tales of shotgun-wielding and barroom intimidation. If she holds true to that already pretty spectacular form and continues to demonstrate this same kind of conceptual sophistication on "Dead Flowers," the first single from her third album (due in September), the track gives her plenty of material to work with and just as many reasons to be optimistic about the quality of that upcoming record. Offering a surfeit of dense, loaded phrases and sharply drawn images, the song hits with devastating accuracy because of how well Lambert sustains its central conceit. At turns blunt (there's a finality to the way she sings the line, "They're sitting in the vase/But now they're dead," in the opening verse) and poetic (the parallel she draws between the titular flowers and a string of burnt-out Christmas lights makes for a simile that's as effective as it is clever), the verses outright grieve for a failed relationship, only to explode into the refrain's barbed accusations.
If that refrain lacks a conventional lyrical or melodic hook, which makes the single more of a grower than "Kerosene" or "Gunpowder and Lead," Lambert's powerful vocal more than carries the dramatic narrative forward. Having already proven herself to be the most nuanced interpretive singer among her contemporaries, her voice has gained more substantial heft during her two years on tour, and here she provides a perfect example of well-controlled restraint. Her measured performance is matched by the song's arrangement, which, as was the case on "Gunpowder," swells in tandem with the lyrics, giving the single the kind of structural awareness seldom heard on country radio. That arrangement doesn't fit neatly into any contemporary country trends: Few pop-country acts would foreground this track's excellent steel guitar run in the mix, but the heavy drums and pulsing guitars would also scare off most traditionalists or staid Americana acts. The crescendo of ringing electric guitars and percussion in the song's final throes recalls, of all things, Coldplay's "Yellow." Whether or not that makes for a good choice for a country single remains to be seen, but "Dead Flowers" makes it clear that Lambert is more interested in forging her own artistic path than in bending to ill-fitting trends set by far lesser talents.
Single Review: Jewel's "I Do"
By: Sal Cinquemani On: 06/13/2008 18:12:45 In: Half Notes Comments: 1
Jonathan Keefe's observation about Jewel's country-music debut, Perfectly Clear, is right on the money. Remove the subtle pedal-steel flourishes of second single "I Do" and the song wouldn't sound out of place on any other Jewel album (aside from maybe 0304—and even then all the song would need is a slightly different arrangement, as the inclusion of that album's Guy Chambers collab "2 Become 1" on Perfectly Clear proves). The banjo-infused "Stronger Woman" had a decent showing on the country charts, but with its lilting melody and pulsing beat, there's no reason "I Do" can't do equally well on both the country and pop charts. Its chances are slim though: It's been five years since Jewel has scored a pop hit. The music video might help. The clip finds Jewel walking randomly into a dusty roadside diner and, in an audacious display of forthrightness, sauntering over to an unsuspecting, almost completely unresponsive cowboy (played by real-life boyfriend and former rodeo cowboy Ty Murray, pictured above), whispering in his ear, inviting herself to sit down at his table, caressing his finger and strutting all around the room until he follows her outside. "We will succeed," she sings with gritty determination. And just when you think Jewel is going to completely reveal her mid-afternoon slut and take the cowboy home, she lures him into a game of chicken—a metaphor for taking the plunge. After all, "love is a game," she says. And heaven/marriage is apparently a picnic blanket in a grassy field at sunset:
Jonathan Keefe's observation about Jewel's country-music debut, Perfectly Clear, is right on the money. Remove the subtle pedal-steel flourishes of second single "I Do" and the song wouldn't sound out of place on any other Jewel album (aside from maybe 0304—and even then all the song would need is a slightly different arrangement, as the inclusion of that album's Guy Chambers collab "2 Become 1" on Perfectly Clear proves). The banjo-infused "Stronger Woman" had a decent showing on the country charts, but with its lilting melody and pulsing beat, there's no reason "I Do" can't do equally well on both the country and pop charts. Its chances are slim though: It's been five years since Jewel has scored a pop hit. The music video might help. The clip finds Jewel walking randomly into a dusty roadside diner and, in an audacious display of forthrightness, sauntering over to an unsuspecting, almost completely unresponsive cowboy (played by real-life boyfriend and former rodeo cowboy Ty Murray, pictured above), whispering in his ear, inviting herself to sit down at his table, caressing his finger and strutting all around the room until he follows her outside. "We will succeed," she sings with gritty determination. And just when you think Jewel is going to completely reveal her mid-afternoon slut and take the cowboy home, she lures him into a game of chicken—a metaphor for taking the plunge. After all, "love is a game," she says. And heaven/marriage is apparently a picnic blanket in a grassy field at sunset:
Single Review: Mariah Carey's "Bye Bye"
By: Sal Cinquemani On: 05/06/2008 15:48:27 In: Half Notes Comments: 7
Leave it to Mariah Carey to release the two weakest songs from her otherwise solid Energy Equals Mass Times the Velocity of Light Squared as the first two singles from the album. A sequel to "One Sweet Day" by way of every track produced by Stargate in the last 24 months, "Bye Bye" is the most treacly, cloying ballad the singer has recorded in years, a reluctant ode ("We will never say bye," she sings…and then proceeds to say it…incessantly) to the faithful departed. If there were a popular boy band around, she would have brought them on board for some extra crossover insurance. (Hey, it's not too late for a remix featuring GLOWB…or better yet, NKOTB!) When every single creative decision is made to boost your stock, you're no longer an artist, you're a glorified commodity, and it's telling that of all the things Mariah wishes she could share with her late, long-estranged father, seeing her "back at #1" tops the list. With a hook that consists solely of the song title repeated ad nauseam, "Bye Bye" exemplifies the worst aspect of the songwriting on the album: The usually eloquent Mariah panders to the demographic she's been courting since O.D.B. astutely equated her with a pacifier on the "Fantasy" remix by dumbing down her lyrics, referring to her "peoples" and reminiscing about "them times."
Leave it to Mariah Carey to release the two weakest songs from her otherwise solid Energy Equals Mass Times the Velocity of Light Squared as the first two singles from the album. A sequel to "One Sweet Day" by way of every track produced by Stargate in the last 24 months, "Bye Bye" is the most treacly, cloying ballad the singer has recorded in years, a reluctant ode ("We will never say bye," she sings…and then proceeds to say it…incessantly) to the faithful departed. If there were a popular boy band around, she would have brought them on board for some extra crossover insurance. (Hey, it's not too late for a remix featuring GLOWB…or better yet, NKOTB!) When every single creative decision is made to boost your stock, you're no longer an artist, you're a glorified commodity, and it's telling that of all the things Mariah wishes she could share with her late, long-estranged father, seeing her "back at #1" tops the list. With a hook that consists solely of the song title repeated ad nauseam, "Bye Bye" exemplifies the worst aspect of the songwriting on the album: The usually eloquent Mariah panders to the demographic she's been courting since O.D.B. astutely equated her with a pacifier on the "Fantasy" remix by dumbing down her lyrics, referring to her "peoples" and reminiscing about "them times."
If possible, Mariah has made a music video even more affected and sentimental than the song itself. Intercut with pictures of lost loved ones (including pets), gratuitous shots of Mimi showing off her newly svelte bod (because even though she's sad, the strip-show must go on!), and an inexplicable storyline featuring her new husband, Nick Cannon, that will supposedly be continued in her next video are scenes of Mariah writing song lyrics in her notepad (which, if Glitter and the upcoming Tennessee are any indication, is apparently a script requirement for Mariah) that doesn't so much legitimize her as a songwriter in the viewers' eyes as it makes her look as if she has a compulsion for journaling. Not to mention looking off into the distance as she ostensibly composes music in her head. And wiping a nonexistent tear from her miraculously unstained face.
Single Review: Sugarland featuring Little Big Town and Jake Owen's "Life in a Northern Town"
By: Jonathan Keefe On: 05/04/2008 21:46:53 In: Half Notes Comments: 0
For well over a decade now, much of mainstream country music has been using adult contemporary radio circa 1985 as its sonic template, with Rascal Flatts leading the charge as the REO Speedwagon for the new millennium. But the influence of '80s pop on today's country has never been as explicit as it is on the new single by Sugarland, who are joined by tourmates Little Big Town and Jake Owen on a cover of the Dream Academy's one hit, "Life in a Northern Town." This isn't a case of transforming a pop song into a country song like Sugarland's bluegrass rave-up version of Beyoncé's "Irreplaceable": Other than Jennifer Nettles's increasingly hard-to-buy drawl, there's nothing recognizable as actual country music about the single. From its use of a tinkling electric piano as the lead instrument and the tasteful orchestral swells and heavy percussion that kick in on the chorus, to the fact that the song (originally intended as an elegy for Nick Drake, someone I'd love to hear Owen name one song by) eschews the narrative-driven structure of most country songs and uses a wordless chant as its refrain, it remains a straight-up pop production. And with a nearly note-for-note faithfulness to the original version, the cover should be utterly inessential. And yet, is there any current act in any popular genre who arranges more exquisite harmonies than Little Big Town? The song's lilting melody and the presence of Sugarland and Owen both give the group the opportunity to build intricate up-to-seven-part harmonies that more than justify releasing the single and that highlight just how well that wordless chant works as a hook. It's no surprise that it's taken off at country radio, but "Life in a Northern Town" should give its unique ensemble a real shot at a crossover hit as well.
For well over a decade now, much of mainstream country music has been using adult contemporary radio circa 1985 as its sonic template, with Rascal Flatts leading the charge as the REO Speedwagon for the new millennium. But the influence of '80s pop on today's country has never been as explicit as it is on the new single by Sugarland, who are joined by tourmates Little Big Town and Jake Owen on a cover of the Dream Academy's one hit, "Life in a Northern Town." This isn't a case of transforming a pop song into a country song like Sugarland's bluegrass rave-up version of Beyoncé's "Irreplaceable": Other than Jennifer Nettles's increasingly hard-to-buy drawl, there's nothing recognizable as actual country music about the single. From its use of a tinkling electric piano as the lead instrument and the tasteful orchestral swells and heavy percussion that kick in on the chorus, to the fact that the song (originally intended as an elegy for Nick Drake, someone I'd love to hear Owen name one song by) eschews the narrative-driven structure of most country songs and uses a wordless chant as its refrain, it remains a straight-up pop production. And with a nearly note-for-note faithfulness to the original version, the cover should be utterly inessential. And yet, is there any current act in any popular genre who arranges more exquisite harmonies than Little Big Town? The song's lilting melody and the presence of Sugarland and Owen both give the group the opportunity to build intricate up-to-seven-part harmonies that more than justify releasing the single and that highlight just how well that wordless chant works as a hook. It's no surprise that it's taken off at country radio, but "Life in a Northern Town" should give its unique ensemble a real shot at a crossover hit as well.
Single Review: Madonna & Justin's "4 Minutes"
By: Sal Cinquemani On: 04/05/2008 11:41:28 In: Half Notes Comments: 46
"4 Minutes" is so fucking meta (and its creators so egomaniacal) that I wouldn't be surprised to find out that Madonna and Justin Timberlake actually sat down with the specific intention of writing a song that could literally save the world and, instead, wound up writing a song about the hassle of writing a song that could literally save the world. Put simply, the song's lyrics—which at first seemed confusing and muddled to those of us who expected it to be about, you know, saving the world from climate change, or the AIDS pandemic in Africa, or George W. Bush—attempt to illustrate what it's like to write and/or perform a pop song that could actually succeed at doing one of those things, or making the bourgeoisie and the rebel come together in every nation. Or maybe it's not even that deep. Madonna wants to get into the groove. Justin is willing and able. Madonna wants it fast. No, she wants it slow. Wait, both! Justin can handle that, but Madonna needs to make up her damn mind first. "Tick, tock, tick, tock," she nags. "Don't be a prima donna," Justin says. This is what it must be like to work for the notoriously impatient superstar. Thank God for that colossal, ridiculously infectious horn riff. Without it, "4 Minutes" would be nothing but a busy assemblage of dubious clichés, mediocre vocals, and Timbaland's heard-it-all-before marching band beats and irksome "ick-y ick-y" banter. And then there's the video, helmed by the team who brought us Justice's "D.A.N.C.E." Madonna, freshly tightened by her surgeon and looking better than Justin's ex, does her usual pelvis-thrusting flexi-combat dance moves (when in doubt—or in lack of a choreographer—strike a yoga pose, right?), but hey, she makes pushing a car look sexy. And what little concept there is—encroaching, flesh-devouring black glass represents the battle against time, or something like that—actually helps solidify "4 Minutes" as the quintessential statement on the crushing pressures of being a Kabbalist pop star at 49.
"4 Minutes" is so fucking meta (and its creators so egomaniacal) that I wouldn't be surprised to find out that Madonna and Justin Timberlake actually sat down with the specific intention of writing a song that could literally save the world and, instead, wound up writing a song about the hassle of writing a song that could literally save the world. Put simply, the song's lyrics—which at first seemed confusing and muddled to those of us who expected it to be about, you know, saving the world from climate change, or the AIDS pandemic in Africa, or George W. Bush—attempt to illustrate what it's like to write and/or perform a pop song that could actually succeed at doing one of those things, or making the bourgeoisie and the rebel come together in every nation. Or maybe it's not even that deep. Madonna wants to get into the groove. Justin is willing and able. Madonna wants it fast. No, she wants it slow. Wait, both! Justin can handle that, but Madonna needs to make up her damn mind first. "Tick, tock, tick, tock," she nags. "Don't be a prima donna," Justin says. This is what it must be like to work for the notoriously impatient superstar. Thank God for that colossal, ridiculously infectious horn riff. Without it, "4 Minutes" would be nothing but a busy assemblage of dubious clichés, mediocre vocals, and Timbaland's heard-it-all-before marching band beats and irksome "ick-y ick-y" banter. And then there's the video, helmed by the team who brought us Justice's "D.A.N.C.E." Madonna, freshly tightened by her surgeon and looking better than Justin's ex, does her usual pelvis-thrusting flexi-combat dance moves (when in doubt—or in lack of a choreographer—strike a yoga pose, right?), but hey, she makes pushing a car look sexy. And what little concept there is—encroaching, flesh-devouring black glass represents the battle against time, or something like that—actually helps solidify "4 Minutes" as the quintessential statement on the crushing pressures of being a Kabbalist pop star at 49.
Single Review: Kylie Minogue's "All I See"
By: Sal Cinquemani On: 03/25/2008 10:38:16 In: Half Notes Comments: 3
Kylie Minogue has churned out three singles from her album X since its international release last year, but it's another song, "All I See," that will be the record's official first single in the U.S. It's one of only three tracks that don't seem to fit the otherwise consistent Euro-disco mash-up of the singer's 10th studio album (the belated Ray of Light rip-off "No More Rain" and the Fergie/Gwen-meets-the-Pussycat-Dolls-meets-"SexyBack" monstrosity that is "Nu-Di-Ty" are the other offenders), but that's exactly why it's a perfect fit for this country. In his review of X, Slant critic Dave Hughes compared "All I See" to Janet Jackson's 1997 house hit "Together Again," and while the breathy vocals are totally Janet, the rest of the song is a virtual carbon copy of Ne-Yo's "Because of You," right down to the measured 4/4 beat and harpsichord:
If radio programmers could find room on their playlists for Natasha Bedingfield's market-pandering "Love Like This," then surely they can find space for "All I See." Although a remix featuring MIMS will be serviced to radio stations soon, there's still no video in sight, so if the song fails, Kylie's American fans can blame her record label, which hasn't figured out how to market the superstar in the U.S. since "Can't Get You Out of My Head."
Kylie Minogue has churned out three singles from her album X since its international release last year, but it's another song, "All I See," that will be the record's official first single in the U.S. It's one of only three tracks that don't seem to fit the otherwise consistent Euro-disco mash-up of the singer's 10th studio album (the belated Ray of Light rip-off "No More Rain" and the Fergie/Gwen-meets-the-Pussycat-Dolls-meets-"SexyBack" monstrosity that is "Nu-Di-Ty" are the other offenders), but that's exactly why it's a perfect fit for this country. In his review of X, Slant critic Dave Hughes compared "All I See" to Janet Jackson's 1997 house hit "Together Again," and while the breathy vocals are totally Janet, the rest of the song is a virtual carbon copy of Ne-Yo's "Because of You," right down to the measured 4/4 beat and harpsichord:
If radio programmers could find room on their playlists for Natasha Bedingfield's market-pandering "Love Like This," then surely they can find space for "All I See." Although a remix featuring MIMS will be serviced to radio stations soon, there's still no video in sight, so if the song fails, Kylie's American fans can blame her record label, which hasn't figured out how to market the superstar in the U.S. since "Can't Get You Out of My Head."
Single Review: Mariah Carey's "Touch My Body"
By: Sal Cinquemani On: 02/13/2008 08:56:40 In: Half Notes Comments: 18
Those wondering how Mariah Carey could possibly top the inane title of 2005's The Emancipation of Mimi need wonder no more. Yesterday it was announced that the singer's 10th album, which drops on Tax Day, will be titled Energy Equals Mass Times the Velocity of Light Squared, or more specifically, E=MC². It's either a stroke of sheer self-effacing brilliance or a sign that Mimi has officially fallen off her rocker. The album's lead single, "Touch My Body," isn't exactly filled with combustible energy and it lacks the full-throttle belting that accompanied the Return of the Voice three years ago, but it features all of the characteristics one expects from a latter-day Mariah track: rapid-fire verses (she slows down only to warn her clandestine lover about his loose lips: "I will hunt you down"), coquettish vocals (the lyrics are racy without being raunchy, so that means no mentions of heavy-flow days, but there is a reference to a sex tape popping up on YouTube), and of course, a memorable hook. There are shades of both "Always Be My Baby" (good) and "Shake It Off" (bad), but "Touch My Body" also harks back to, dare I even say it, Like a Virgin-era Nile Rodgers. Think "Angel"—that is, not a whole lot of bass but plenty of plinky, synthetic-sounding keyboards and bouncy rhythms. The song's biggest flaw is its attempt at hip, pop-culture-referencing lyrics: "They be all up in my business like a Wendy [Williams] interview," she sighs. "Touch My Body" strikes me more as good album filler than lead single material (it's no "Fantasy" or "Honey"; hell, it's not even another "It's Like That"), but it's worth noting that I found "We Belong Together" a little boring the first time I heard it too—and that thing tanked faster than Glitter.
Those wondering how Mariah Carey could possibly top the inane title of 2005's The Emancipation of Mimi need wonder no more. Yesterday it was announced that the singer's 10th album, which drops on Tax Day, will be titled Energy Equals Mass Times the Velocity of Light Squared, or more specifically, E=MC². It's either a stroke of sheer self-effacing brilliance or a sign that Mimi has officially fallen off her rocker. The album's lead single, "Touch My Body," isn't exactly filled with combustible energy and it lacks the full-throttle belting that accompanied the Return of the Voice three years ago, but it features all of the characteristics one expects from a latter-day Mariah track: rapid-fire verses (she slows down only to warn her clandestine lover about his loose lips: "I will hunt you down"), coquettish vocals (the lyrics are racy without being raunchy, so that means no mentions of heavy-flow days, but there is a reference to a sex tape popping up on YouTube), and of course, a memorable hook. There are shades of both "Always Be My Baby" (good) and "Shake It Off" (bad), but "Touch My Body" also harks back to, dare I even say it, Like a Virgin-era Nile Rodgers. Think "Angel"—that is, not a whole lot of bass but plenty of plinky, synthetic-sounding keyboards and bouncy rhythms. The song's biggest flaw is its attempt at hip, pop-culture-referencing lyrics: "They be all up in my business like a Wendy [Williams] interview," she sighs. "Touch My Body" strikes me more as good album filler than lead single material (it's no "Fantasy" or "Honey"; hell, it's not even another "It's Like That"), but it's worth noting that I found "We Belong Together" a little boring the first time I heard it too—and that thing tanked faster than Glitter.
Robyn 2.0
By: Sal Cinquemani On: 02/01/2008 14:03:48 In: Half Notes Comments: 0
I've been sitting on my review of Robyn for almost as long as the Swedish pop star's self-titled disc has been floating around the Internets. The album dropped in Robyn's homeland back in 2005 and was released in revamped form in the U.K. last year, with a rumored fourth quarter U.S. release on Interscope Records that never materialized. But now it looks like Robyn (you might remember her from her 1997 hit "Show Me Love," but not to be confused with Robin S., who scored a hit with the same title that same year) is finally ready to make a stateside comeback, with Robyn scheduled for April—for now. Earlier this week, Interscope set the stage with The Rakamonie EP, which includes album tracks "Konichiwa Bitches" and "Cobrastyle" along with an acoustic version of the international hit "Be Mine" and a cover of Prince's "Jack U Off." The EP also contains an acoustic version of this little gem, "With Every Heartbeat" (#14 on our list of 2007 singles). See if you can spot the copy of Barbra Streisand's Guilty LP lurking in the background:
I've been sitting on my review of Robyn for almost as long as the Swedish pop star's self-titled disc has been floating around the Internets. The album dropped in Robyn's homeland back in 2005 and was released in revamped form in the U.K. last year, with a rumored fourth quarter U.S. release on Interscope Records that never materialized. But now it looks like Robyn (you might remember her from her 1997 hit "Show Me Love," but not to be confused with Robin S., who scored a hit with the same title that same year) is finally ready to make a stateside comeback, with Robyn scheduled for April—for now. Earlier this week, Interscope set the stage with The Rakamonie EP, which includes album tracks "Konichiwa Bitches" and "Cobrastyle" along with an acoustic version of the international hit "Be Mine" and a cover of Prince's "Jack U Off." The EP also contains an acoustic version of this little gem, "With Every Heartbeat" (#14 on our list of 2007 singles). See if you can spot the copy of Barbra Streisand's Guilty LP lurking in the background:
Single Review: Janet Jackson's "Feedback"
By: Eric Henderson On: 01/17/2008 09:05:15 In: Half Notes Comments: 0
My initial (and, to date, just about only) listen to Janet Jackson's 20 Y.O. had me thinking about celebrity sex tapes. You see, their massive disappointment stems from the fact that many of the subjects are usually at least a decade older than your average porn star, and even the ones that aren't that old lack the professional stamina of porn's trained sides of beef. I'm not taking potshots at Janet's age, but the dance icon doing hip-hop strikes me every bit as misguided and desperate. Enter Rodney Jerkins. "Feedback," the lead-off single from Janet's forthcoming album, Discipline, shows Janet the 4/4 we assumed she lost, though the beat whomps so relentlessly here it's hard to know how she could've ever misplaced it. This is the "for the clubs" monster the half-written "Come on Get Up" wanted to be back in 2001 before giving up entirely, only this one drops Jam and Lewis's incongruously cute synth bells and whistles in favor of a claustrophobically spare itch-and-scratch. (Incidentally, Discipline also drops Jam and Lewis entirely. If there's even so much as one other song with as much octane as "Feedback" on the album—perhaps the similarly Jerkins-produced "Roller Coaster," though the sugary-cute title gives me diabetes—it will have been for the best.) Instead of writing lyrics that insist she's all about having fun, here she presents a series of ridiculous couplets (which she tellingly didn't write) that simply are fun: "Light skin, dark skin, my Asian persuasion." It's the difference between telling and showing, to use a hoary writers' workshop cliché, and by the time she claims that her "swag is serious, something heavy like a first-day period," she's also accidentally discovered the essence of hip-hop for good measure. The video is comparatively only a minor revelation (dancing with sperm? That's so Rihanna!). But I gotta give her credit for a) juggling CGI in a skin-tight red jumpsuit during what appeared to be the middle ground of her yo-yo weight swings, b) whipping up cosmic dust with that ponytail (how's that for an entrance?!), and c) not making another damned video in which she just hangs out with her dancers:
My initial (and, to date, just about only) listen to Janet Jackson's 20 Y.O. had me thinking about celebrity sex tapes. You see, their massive disappointment stems from the fact that many of the subjects are usually at least a decade older than your average porn star, and even the ones that aren't that old lack the professional stamina of porn's trained sides of beef. I'm not taking potshots at Janet's age, but the dance icon doing hip-hop strikes me every bit as misguided and desperate. Enter Rodney Jerkins. "Feedback," the lead-off single from Janet's forthcoming album, Discipline, shows Janet the 4/4 we assumed she lost, though the beat whomps so relentlessly here it's hard to know how she could've ever misplaced it. This is the "for the clubs" monster the half-written "Come on Get Up" wanted to be back in 2001 before giving up entirely, only this one drops Jam and Lewis's incongruously cute synth bells and whistles in favor of a claustrophobically spare itch-and-scratch. (Incidentally, Discipline also drops Jam and Lewis entirely. If there's even so much as one other song with as much octane as "Feedback" on the album—perhaps the similarly Jerkins-produced "Roller Coaster," though the sugary-cute title gives me diabetes—it will have been for the best.) Instead of writing lyrics that insist she's all about having fun, here she presents a series of ridiculous couplets (which she tellingly didn't write) that simply are fun: "Light skin, dark skin, my Asian persuasion." It's the difference between telling and showing, to use a hoary writers' workshop cliché, and by the time she claims that her "swag is serious, something heavy like a first-day period," she's also accidentally discovered the essence of hip-hop for good measure. The video is comparatively only a minor revelation (dancing with sperm? That's so Rihanna!). But I gotta give her credit for a) juggling CGI in a skin-tight red jumpsuit during what appeared to be the middle ground of her yo-yo weight swings, b) whipping up cosmic dust with that ponytail (how's that for an entrance?!), and c) not making another damned video in which she just hangs out with her dancers:
Albums We Dissed This Month
By: Sal Cinquemani On: 09/29/2007 09:25:18 In: Half Notes Comments: 1
Here are some notable September releases that fell through the cracks for one reason or another:
Hard-Fi, Once Upon a Time in the West. The British foursome delivers another collection of reliable, durable, political, and economical pop-rock ditties with their sophomore set. The cover boasts big block lettering that reads "No Cover Art" while the booklet folds open to display three panels where the band's "Second Album Photoshoot" should go. Cheeky. Highlights include the strings and choir-filled "Watch Me Fall Apart" and the stomping "We Need Love."
Magnet, The Simple Life. Norwegian singer-songwriter Even Johansen's latest is a step up from 2005's The Tourniquet but it doesn't quite match the dizzying heights of On Your Side, his debut under the Magnet name. Highlights: the hand-clappy "The Gospel Song," the symphonic "Count," and two songs co-written with violinist/composer Sally Herbert, "Navigator" and the title track.
Ani DiFranco, Canon. Five newly re-recorded tunes round out DiFranco's first "hits" collection, including an unnecessary update of the 17-year-old classic "Both Hands" and a folkier take on "Napoleon." The folksinger disses her magnificent 1996 opus Dilate by largely eschewing the studio cuts for versions taken from her (equally impressive) live album Living in Clip, and of course, there are lots of missing favorites and dubious inclusions, but just go buy her entire catalog and make your own damn playlist. The packaging is, as usual, beautiful, though I'm not quite sure what to do with that cardboard cutout of a dove.
Kurt Cobain: About a Son, Original Soundtrack. One thing I forgot to mention in my review of the new Kurt Cobain documentary About a Son is its score, composed by Steve Fisk and Death Cab for Cutie singer Ben Gibbard. The film's soundtrack includes the pair's "Overture" along with selections from some of Cobain's favorite artists (Bad Brains, Iggy Pop, Lead Belly, David Bowie, among others) and excerpts of interviews with the late Nirvana frontman.
Clare and the Reasons, The Movie. The Brooklyn-based band's debut is a noir-ish ode to the Big Apple, featuring a cameo by Edward G. Robinson…I mean Sufjan Stevens. Read my full review in The Village Voice.
Here are some notable September releases that fell through the cracks for one reason or another:
Hard-Fi, Once Upon a Time in the West. The British foursome delivers another collection of reliable, durable, political, and economical pop-rock ditties with their sophomore set. The cover boasts big block lettering that reads "No Cover Art" while the booklet folds open to display three panels where the band's "Second Album Photoshoot" should go. Cheeky. Highlights include the strings and choir-filled "Watch Me Fall Apart" and the stomping "We Need Love."
Magnet, The Simple Life. Norwegian singer-songwriter Even Johansen's latest is a step up from 2005's The Tourniquet but it doesn't quite match the dizzying heights of On Your Side, his debut under the Magnet name. Highlights: the hand-clappy "The Gospel Song," the symphonic "Count," and two songs co-written with violinist/composer Sally Herbert, "Navigator" and the title track.
Ani DiFranco, Canon. Five newly re-recorded tunes round out DiFranco's first "hits" collection, including an unnecessary update of the 17-year-old classic "Both Hands" and a folkier take on "Napoleon." The folksinger disses her magnificent 1996 opus Dilate by largely eschewing the studio cuts for versions taken from her (equally impressive) live album Living in Clip, and of course, there are lots of missing favorites and dubious inclusions, but just go buy her entire catalog and make your own damn playlist. The packaging is, as usual, beautiful, though I'm not quite sure what to do with that cardboard cutout of a dove.
Kurt Cobain: About a Son, Original Soundtrack. One thing I forgot to mention in my review of the new Kurt Cobain documentary About a Son is its score, composed by Steve Fisk and Death Cab for Cutie singer Ben Gibbard. The film's soundtrack includes the pair's "Overture" along with selections from some of Cobain's favorite artists (Bad Brains, Iggy Pop, Lead Belly, David Bowie, among others) and excerpts of interviews with the late Nirvana frontman.
Clare and the Reasons, The Movie. The Brooklyn-based band's debut is a noir-ish ode to the Big Apple, featuring a cameo by Edward G. Robinson…I mean Sufjan Stevens. Read my full review in The Village Voice.
Tori Amos: Spotlight Live, NYC
By: Sal Cinquemani On: 05/02/2007 09:18:26 In: Half Notes Comments: 2
A glorified karaoke bar isn't exactly the kind of place you'd expect to find an artist with a career as varied and prolific as Tori Amos's. Granted, Tori got her start gigging at gay bars in the D.C. area, and NYC's Spotlight Live is quite fancy for a karaoke bar—it's a cozy, interactive venue where anyone (even Tyra Banks, who stopped by last week) can jump up on stage and do their best "Proud Mary" for patrons dining on Pretzel Crusted Pork Chops and Sno Cones. But this wasn't just an impromptu night out on the town for Tori—it was the official release party for her ninth album, American Doll Posse.
Tori's last couple of albums have been so concept-driven that, despite running upward of 80 minutes apiece (they're like the alt-rock equivalents of a Janet Jackson album, minus the rain sounds and sex songs with no melodies), it was beginning to look like the singer-songwriter had run out of actual musical ideas. A friend of mine who works as creative director for a top advertising firm noted Doll Posse's laughable concept and the cover's impossible lighting and lame typography ("that of a high school art student on Prozac," were his exact words). Naturally, the helpless chicken in Tori/Santa/Clyde/Isabel/Pip's hands (I can't be bothered to figure out which of the album's five characters it is) steals the shot (see above). You can almost hear Tori changing her wig and assuming a new personality at regular intervals throughout the album, not because its different sections are in any way discernable, but because of the numerous interludes.
Those interludes just so happen to comprise the majority of the album's best tracks. They're quirky, energetic, and bold—everything Tori hasn't been for years. Though Doll Posse is her most inspired work in almost a decade, things weren't quite as energetic last night, but that was because Tori was flying solo. As she told us via improvised song, her "boys," including drummer Matt Chamberlain, don't quite know the new songs yet and the fictional members of her "doll posse" don't know how to play piano (but they're learning!), which means Tori, who was in fine voice, only had the chance to don one wig. (She also mentioned her imminent appearance on Regis & Kelly, which will have aired by the time you read this, and how ABC won't allow her to sing the acronym "M.I.L.F.")
Tori's set was only a brief 30 minutes, aired live on Sirius Radio, and she plowed through an impassioned "Velvet Revolution," the lovely "Roosterspur Bridge" and "Almost Rosey" (alas, not about Rosie O'Donnell), "Father's Son," and "Beauty Of Speed," an album weak-spot that benefited from a stripped down presentation. Tori's exit was abrupt, and I'd complain about the fact that there were no tunes about M.I.L.F.'s and no songs from her extensive back catalog, but, to be fair, the woman's in the midst of a promotional whirlwind and being left wanting more from an artist 15 years into her career is definitely something worth celebrating.
A glorified karaoke bar isn't exactly the kind of place you'd expect to find an artist with a career as varied and prolific as Tori Amos's. Granted, Tori got her start gigging at gay bars in the D.C. area, and NYC's Spotlight Live is quite fancy for a karaoke bar—it's a cozy, interactive venue where anyone (even Tyra Banks, who stopped by last week) can jump up on stage and do their best "Proud Mary" for patrons dining on Pretzel Crusted Pork Chops and Sno Cones. But this wasn't just an impromptu night out on the town for Tori—it was the official release party for her ninth album, American Doll Posse.
Tori's last couple of albums have been so concept-driven that, despite running upward of 80 minutes apiece (they're like the alt-rock equivalents of a Janet Jackson album, minus the rain sounds and sex songs with no melodies), it was beginning to look like the singer-songwriter had run out of actual musical ideas. A friend of mine who works as creative director for a top advertising firm noted Doll Posse's laughable concept and the cover's impossible lighting and lame typography ("that of a high school art student on Prozac," were his exact words). Naturally, the helpless chicken in Tori/Santa/Clyde/Isabel/Pip's hands (I can't be bothered to figure out which of the album's five characters it is) steals the shot (see above). You can almost hear Tori changing her wig and assuming a new personality at regular intervals throughout the album, not because its different sections are in any way discernable, but because of the numerous interludes.
Those interludes just so happen to comprise the majority of the album's best tracks. They're quirky, energetic, and bold—everything Tori hasn't been for years. Though Doll Posse is her most inspired work in almost a decade, things weren't quite as energetic last night, but that was because Tori was flying solo. As she told us via improvised song, her "boys," including drummer Matt Chamberlain, don't quite know the new songs yet and the fictional members of her "doll posse" don't know how to play piano (but they're learning!), which means Tori, who was in fine voice, only had the chance to don one wig. (She also mentioned her imminent appearance on Regis & Kelly, which will have aired by the time you read this, and how ABC won't allow her to sing the acronym "M.I.L.F.")
Tori's set was only a brief 30 minutes, aired live on Sirius Radio, and she plowed through an impassioned "Velvet Revolution," the lovely "Roosterspur Bridge" and "Almost Rosey" (alas, not about Rosie O'Donnell), "Father's Son," and "Beauty Of Speed," an album weak-spot that benefited from a stripped down presentation. Tori's exit was abrupt, and I'd complain about the fact that there were no tunes about M.I.L.F.'s and no songs from her extensive back catalog, but, to be fair, the woman's in the midst of a promotional whirlwind and being left wanting more from an artist 15 years into her career is definitely something worth celebrating.
Us Vs. The Earth
By: Sal Cinquemani On: 04/22/2007 09:11:59 In: Half Notes Comments: 0
To celebrate Earth Day, we thought we'd share a clever little ecologically conscious music video from Swedish progressive house DJ Eric Prydz. Prydz, who scored a hit a few years back with "Call On Me," a track that sampled Steve Winwood's Top 10 single "Valerie" from 1987, consulted with climate change charity Global Cool for the video, and production of the CD was even carbon neutral! "Proper Education," credited as Eric Prydz Vs. Floyd, samples Pink Floyd's "Another Brick In The Wall (Part 2)" (one of the rare occasions the band has given permission for a sample). Directed by Marcus Adams, the clip follows in the Pink Floyd tradition of videos with a message and traces a gang of eco-friendly, street-running kids as they break into various flats in a London apartment complex and turn off appliances and electronics, switch regular light bulbs with more energy-efficient compact fluorescent ones, and place bricks in toilet cisterns and freezers to save energy:
By the time most people read this it won't be Earth Day anymore, but, as Bill Maher said on Friday night's episode of Real Time, isn't it time that everyday was Earth Day? Check out Yahoo's fancy Earth Day page for nifty ways other than throwing bricks in your toilet to save the planet. This has been a public service announcement from Slant Magazine.
To celebrate Earth Day, we thought we'd share a clever little ecologically conscious music video from Swedish progressive house DJ Eric Prydz. Prydz, who scored a hit a few years back with "Call On Me," a track that sampled Steve Winwood's Top 10 single "Valerie" from 1987, consulted with climate change charity Global Cool for the video, and production of the CD was even carbon neutral! "Proper Education," credited as Eric Prydz Vs. Floyd, samples Pink Floyd's "Another Brick In The Wall (Part 2)" (one of the rare occasions the band has given permission for a sample). Directed by Marcus Adams, the clip follows in the Pink Floyd tradition of videos with a message and traces a gang of eco-friendly, street-running kids as they break into various flats in a London apartment complex and turn off appliances and electronics, switch regular light bulbs with more energy-efficient compact fluorescent ones, and place bricks in toilet cisterns and freezers to save energy:
By the time most people read this it won't be Earth Day anymore, but, as Bill Maher said on Friday night's episode of Real Time, isn't it time that everyday was Earth Day? Check out Yahoo's fancy Earth Day page for nifty ways other than throwing bricks in your toilet to save the planet. This has been a public service announcement from Slant Magazine.
Upgrade B
By: Sal Cinquemani On: 04/07/2007 11:03:57 In: Half Notes Comments: 17
Despite some complaints to the contrary, Beyoncé's B'Day does not sound like it was recorded in two weeks. Even counting two hidden tracks, the 10-track album is still short by today's beefed-up-without-any-actual-meat standards. While re-releases by other divas have seemed greedy and superfluous (Mariah's The Emancipation Of Mimi was already chockfull of potential hit singles) or just plain nonsensical (Mary J. Blige's No More Drama cut tracks and added others), the new version of B'Day serves to fill in some gaps and proves that the original album, despite finally hitting the mark with its third single, probably could have benefited from a little patience and a less-rushed release schedule.
B'Day is now paced less like a tigress going for the jugular and more like your average, bloated R&B album, with club jams interspersed with slow songs and midtempo tracks. Compared to "Resentment" and the rightfully Oscar-denied "Listen," new ballads like "Still In Love (Kissing You)" (a cover of Des'ree's Romeo + Juliet theme from 10 years ago that, while decent, could have been done better justice by someone like Mimi) and the surprise gem "Flaws And All" sound downright subtle. Of course, the original B'Day's appeal was its aggressive, high-octane pace, and replacing it with this new 16-track Deluxe Version (with a completely rearranged sequence; the singles "Déjà Vu" and "Ring The Alarm" are pushed to the back of the bus in favor of the Shakira duet "Beautiful Liar," among others) might make it a less attractive spin in the long run. (A second disc, which includes way too many versions of "Beautiful Liar," is completely unnecessary—though the Nortena Remix of "Irreemplazable" is, uh, pretty special).
Beyoncé also shot eight new videos for B'Day's re-release. None of them are anything special, though most will please narrow-minded fans who disliked Sophie Muller's "Déjà Vu": "Beautiful Liar" gets interesting around the bridge, when Beyoncé and Shakira, whose gyrations Beyoncé has been copping for years, begin mirroring each other's movements; "Upgrade U" finds the singer psyching us out by miming the first half of Jay-Z's rap; "Kitty Kat" is pure camp (she rides a giant cat and plays with a big neon ball); "Greenlight" pays homage to Robert Palmer's video canon; "Get Me Bodied" features cameos by Kelly Rowland, Michelle Williams, and Solange; and the sloppily edited "Freakum Dress" plays out like a cheap fashion show for House of Deréon instead of the couture-as-weapons anthem it should be. You can find them all on the exclusive Wal-Mart DVD B'Day Anthology Video Album or—where else?—on YouTube!
Despite some complaints to the contrary, Beyoncé's B'Day does not sound like it was recorded in two weeks. Even counting two hidden tracks, the 10-track album is still short by today's beefed-up-without-any-actual-meat standards. While re-releases by other divas have seemed greedy and superfluous (Mariah's The Emancipation Of Mimi was already chockfull of potential hit singles) or just plain nonsensical (Mary J. Blige's No More Drama cut tracks and added others), the new version of B'Day serves to fill in some gaps and proves that the original album, despite finally hitting the mark with its third single, probably could have benefited from a little patience and a less-rushed release schedule.
B'Day is now paced less like a tigress going for the jugular and more like your average, bloated R&B album, with club jams interspersed with slow songs and midtempo tracks. Compared to "Resentment" and the rightfully Oscar-denied "Listen," new ballads like "Still In Love (Kissing You)" (a cover of Des'ree's Romeo + Juliet theme from 10 years ago that, while decent, could have been done better justice by someone like Mimi) and the surprise gem "Flaws And All" sound downright subtle. Of course, the original B'Day's appeal was its aggressive, high-octane pace, and replacing it with this new 16-track Deluxe Version (with a completely rearranged sequence; the singles "Déjà Vu" and "Ring The Alarm" are pushed to the back of the bus in favor of the Shakira duet "Beautiful Liar," among others) might make it a less attractive spin in the long run. (A second disc, which includes way too many versions of "Beautiful Liar," is completely unnecessary—though the Nortena Remix of "Irreemplazable" is, uh, pretty special).
Beyoncé also shot eight new videos for B'Day's re-release. None of them are anything special, though most will please narrow-minded fans who disliked Sophie Muller's "Déjà Vu": "Beautiful Liar" gets interesting around the bridge, when Beyoncé and Shakira, whose gyrations Beyoncé has been copping for years, begin mirroring each other's movements; "Upgrade U" finds the singer psyching us out by miming the first half of Jay-Z's rap; "Kitty Kat" is pure camp (she rides a giant cat and plays with a big neon ball); "Greenlight" pays homage to Robert Palmer's video canon; "Get Me Bodied" features cameos by Kelly Rowland, Michelle Williams, and Solange; and the sloppily edited "Freakum Dress" plays out like a cheap fashion show for House of Deréon instead of the couture-as-weapons anthem it should be. You can find them all on the exclusive Wal-Mart DVD B'Day Anthology Video Album or—where else?—on YouTube!
You Can't Do That On YouTube
By: Sal Cinquemani On: 04/03/2007 09:27:06 In: Half Notes Comments: 3
It's easily the best thing she's released in years and features one of her best vocals to date. No, it's not Alanis Morissette's new single, but it should be. The Canadian singer takes on the Black Eyed Peas' "My Humps," transforming the, uh, Grammy-winning song into a disturbing, postmodern, piano-ballad barb. The video is more obviously cheeky, featuring exploding pillows and dripping mascara, but it's Alanis's über serious performance (reminiscent of "Uninvited" and "Your House") that makes this worth watching over and over:
As Slant's Jonathan Keefe mused via email: "Apparently, that's what breaking up with Billy from Fifteen will drive someone to do, for better or worse." (Those of you between the ages of, say, 25 and 32—or members of the Ryan Reynolds fan club—will know exactly what that means.) "My Humps" isn't Alanis's first foray into comedy; she appeared on MADtv a few years back, skewering teenyboppers everywhere with the faux single "Bubble Trouble" by her fictional little sister Delicious Morissette:
It's easily the best thing she's released in years and features one of her best vocals to date. No, it's not Alanis Morissette's new single, but it should be. The Canadian singer takes on the Black Eyed Peas' "My Humps," transforming the, uh, Grammy-winning song into a disturbing, postmodern, piano-ballad barb. The video is more obviously cheeky, featuring exploding pillows and dripping mascara, but it's Alanis's über serious performance (reminiscent of "Uninvited" and "Your House") that makes this worth watching over and over:
As Slant's Jonathan Keefe mused via email: "Apparently, that's what breaking up with Billy from Fifteen will drive someone to do, for better or worse." (Those of you between the ages of, say, 25 and 32—or members of the Ryan Reynolds fan club—will know exactly what that means.) "My Humps" isn't Alanis's first foray into comedy; she appeared on MADtv a few years back, skewering teenyboppers everywhere with the faux single "Bubble Trouble" by her fictional little sister Delicious Morissette:
Christina Aguilera: "Candyman"
By: Sal Cinquemani On: 03/01/2007 23:13:57 In: Half Notes Comments: 14
Christina Aguilera's Back To Basics has been oddly promoted, to say the least. Ample time was provided for the hit "Ain't No Other Man" to run its course, but the follow-up, "Hurt," fizzled. A third single was delayed until now, and it's a strange one. "Candyman," a retro ditty heavily inspired by "Boogie Woogie Bugle Boy" and originally planned as the album's second release until Aguilera's label pushed for a ballad instead, isn't exactly the kind of song you'd expect to do well alongside Mims' "This Is Why I'm Hot." But that's exactly what Aguilera and her album need. Any number of tracks from the more modern side of the two-disc Back To Basics, including "Slow Down Baby," "On Our Way," and "Here To Stay," would make more viable singles. And while Aguilera's Grammy win last month gave Back To Basics a sizeable sales boost, she didn't do the album any favors by performing a James Brown tribute instead of one of her own songs on the telecast.
Luckily, "Candyman" delivers the best video from Back To Basics so far. The clip, directed by the typically puddle-deep Matthew Rolston and vibrant enough to compete with the likes of videos by Fergie and Gwen, succeeds where the hodgepodge "Ain't No Other Man" and "Hurt" (helmed by Bryan Barber and Floria Sigismondi, respectively) failed. Neither video consistently captured the tone or authenticity of the era Aguilera was trying to emulate. "Candyman," on the other hand, does, honoring the Andrews Sisters, who first popularized the anthem "Bugle Boy" during World War II, and, perhaps, gunning for a relevant wartime hit of her own. Aguilera plays all three parts of a girl group sent to entertain the troops, swing dances in a sequence reminiscent of those famous khaki Gap ads from a few years back, and even dresses up as that iconic female bandana-wearing wartime worker from the '40s.
My only problem with "Candyman" is that Aguilera doesn't subvert, or even satirize, the images she evokes. They're used in an almost perfunctory manner, for nostalgia rather than commentary, which is disappointing for the supposed heir apparent to Madonna.
Finally, while doing a little research on the propaganda posters used during World War II, I stumbled upon these laugh-riots (it's not hard to imagine Bush and those in his administration using similar fear and guilt tactics today):
God Bless America.
Christina Aguilera's Back To Basics has been oddly promoted, to say the least. Ample time was provided for the hit "Ain't No Other Man" to run its course, but the follow-up, "Hurt," fizzled. A third single was delayed until now, and it's a strange one. "Candyman," a retro ditty heavily inspired by "Boogie Woogie Bugle Boy" and originally planned as the album's second release until Aguilera's label pushed for a ballad instead, isn't exactly the kind of song you'd expect to do well alongside Mims' "This Is Why I'm Hot." But that's exactly what Aguilera and her album need. Any number of tracks from the more modern side of the two-disc Back To Basics, including "Slow Down Baby," "On Our Way," and "Here To Stay," would make more viable singles. And while Aguilera's Grammy win last month gave Back To Basics a sizeable sales boost, she didn't do the album any favors by performing a James Brown tribute instead of one of her own songs on the telecast.
Luckily, "Candyman" delivers the best video from Back To Basics so far. The clip, directed by the typically puddle-deep Matthew Rolston and vibrant enough to compete with the likes of videos by Fergie and Gwen, succeeds where the hodgepodge "Ain't No Other Man" and "Hurt" (helmed by Bryan Barber and Floria Sigismondi, respectively) failed. Neither video consistently captured the tone or authenticity of the era Aguilera was trying to emulate. "Candyman," on the other hand, does, honoring the Andrews Sisters, who first popularized the anthem "Bugle Boy" during World War II, and, perhaps, gunning for a relevant wartime hit of her own. Aguilera plays all three parts of a girl group sent to entertain the troops, swing dances in a sequence reminiscent of those famous khaki Gap ads from a few years back, and even dresses up as that iconic female bandana-wearing wartime worker from the '40s.
My only problem with "Candyman" is that Aguilera doesn't subvert, or even satirize, the images she evokes. They're used in an almost perfunctory manner, for nostalgia rather than commentary, which is disappointing for the supposed heir apparent to Madonna.
Finally, while doing a little research on the propaganda posters used during World War II, I stumbled upon these laugh-riots (it's not hard to imagine Bush and those in his administration using similar fear and guilt tactics today):
God Bless America.
Postscript: 2006 Year in Music
By: Sal Cinquemani On: 12/22/2006 16:55:07 In: Half Notes Comments: 390
Slant critic Jonathan Keefe and I decided not to include any honorable mentions in our 2006 year-end lists, but we can't resist plugging a few items that didn't make the cut:
As always, the final slot on my list changed with each day leading up to our self-imposed deadline. Goldfrapp's Supernature underwhelmed upon first listen but ultimately outshined every other electronic pop record this year and beat out What Made Milwaukee Famous's Trying To Never Catch Up, a reissue of their 2004 release, and Hard-Fi's Stars Of CCTV, an album brimming with catchy electro-rock ditties. Albums not exactly worthy of a year-end list but still getting lots of mileage on my iPod: Diddy's Press Play, which, after being stripped down to the tracks dominated by artists other than Diddy himself (basically three-quarters of the album), is one of the most satisfying mainstream hip-pop records of the year (and yes, just typing those words makes me gag a little), Gwen Stefani's solid The Sweet Escape, Beck's The Information, Pink's I'm Not Dead (minus the ballads, of course), Paris Hilton's Paris (minus the sleazy Scott Storch tracks), and The Killers' Sam's Town. Jonathan's honorable mentions include: Ghostface Killah's Fishscale, Nina Gordon's Bleeding Heart Graffiti, Old Crow Medicine Show's Big Iron World, Tim Easton's Ammunition, Yeah Yeah Yeahs' Show Your Bones, Kelley Stoltz's Below The Branches, Julie Roberts's Men & Mascara Lupe Fiasco's Food & Liquor, and Thom Yorke's The Eraser.
On the singles front, there's Pussycat Dolls' "Buttons," Mario Vasquez's "Gallery," Cazwell's "All Over Your Face," Lupe Fiasco featuring Jill Scott's "Daydreamin'," Youth Group's cover of Alphaville's "Forever Young," Camera Obscura's "Lloyd, I'm Ready To Be Heartbroken," The Gossip's "Standing In The Way Of Control," Tapes N Tapes' "10 Gallon Ascots," Jenny Lewis & The Watson Twins' "Rise Up With Fists!!!," Jude's "Gay Cowboy," OK Go's "Here It Goes Again," Sugababes' cover of Arctic Monkeys' "I Bet You Look Good On The Dancefloor," Alan Jackson's "Like Red On A Rose," and Sparks' "Perfume." And though they weren't technically singles, we think they should have been: Andy Samberg and Justin Timberlake's "Dick In A Box" and Natalie Portman's "A Day In The Life Of Natalie Portman" a.k.a. "Badass Bitch."
And as for videos themselves, not many caught our eye this year, but Vitalic's "Poney Pt. 1" a.k.a. "Birds" and Jer Ber Jones's "Tubetop Vs. Tubesocks" got our attention on YouTube. And it's amazing how such a simple, beautiful song and video as Snow Patrol's "Chasing Cars" can be commercialized by the U.S. music-industry machine. Originally lensed in Iceland and London by directors Arni & Kinski (best known for their work with Sigur Rós), a dumbed-down clip was shot for the U.S. by Nick Brandt with an alternately edited version in the form of a Grey's Anatomy promo. Blarf.
Slant critic Jonathan Keefe and I decided not to include any honorable mentions in our 2006 year-end lists, but we can't resist plugging a few items that didn't make the cut:
As always, the final slot on my list changed with each day leading up to our self-imposed deadline. Goldfrapp's Supernature underwhelmed upon first listen but ultimately outshined every other electronic pop record this year and beat out What Made Milwaukee Famous's Trying To Never Catch Up, a reissue of their 2004 release, and Hard-Fi's Stars Of CCTV, an album brimming with catchy electro-rock ditties. Albums not exactly worthy of a year-end list but still getting lots of mileage on my iPod: Diddy's Press Play, which, after being stripped down to the tracks dominated by artists other than Diddy himself (basically three-quarters of the album), is one of the most satisfying mainstream hip-pop records of the year (and yes, just typing those words makes me gag a little), Gwen Stefani's solid The Sweet Escape, Beck's The Information, Pink's I'm Not Dead (minus the ballads, of course), Paris Hilton's Paris (minus the sleazy Scott Storch tracks), and The Killers' Sam's Town. Jonathan's honorable mentions include: Ghostface Killah's Fishscale, Nina Gordon's Bleeding Heart Graffiti, Old Crow Medicine Show's Big Iron World, Tim Easton's Ammunition, Yeah Yeah Yeahs' Show Your Bones, Kelley Stoltz's Below The Branches, Julie Roberts's Men & Mascara Lupe Fiasco's Food & Liquor, and Thom Yorke's The Eraser.
On the singles front, there's Pussycat Dolls' "Buttons," Mario Vasquez's "Gallery," Cazwell's "All Over Your Face," Lupe Fiasco featuring Jill Scott's "Daydreamin'," Youth Group's cover of Alphaville's "Forever Young," Camera Obscura's "Lloyd, I'm Ready To Be Heartbroken," The Gossip's "Standing In The Way Of Control," Tapes N Tapes' "10 Gallon Ascots," Jenny Lewis & The Watson Twins' "Rise Up With Fists!!!," Jude's "Gay Cowboy," OK Go's "Here It Goes Again," Sugababes' cover of Arctic Monkeys' "I Bet You Look Good On The Dancefloor," Alan Jackson's "Like Red On A Rose," and Sparks' "Perfume." And though they weren't technically singles, we think they should have been: Andy Samberg and Justin Timberlake's "Dick In A Box" and Natalie Portman's "A Day In The Life Of Natalie Portman" a.k.a. "Badass Bitch."
And as for videos themselves, not many caught our eye this year, but Vitalic's "Poney Pt. 1" a.k.a. "Birds" and Jer Ber Jones's "Tubetop Vs. Tubesocks" got our attention on YouTube. And it's amazing how such a simple, beautiful song and video as Snow Patrol's "Chasing Cars" can be commercialized by the U.S. music-industry machine. Originally lensed in Iceland and London by directors Arni & Kinski (best known for their work with Sigur Rós), a dumbed-down clip was shot for the U.S. by Nick Brandt with an alternately edited version in the form of a Grey's Anatomy promo. Blarf.
Post-Katrina Music…and an American Idol Dropout
By: Sal Cinquemani On: 11/11/2006 14:58:04 In: Half Notes Comments: 539
U2 & Green Day, "The Saints Are Coming": The lead single from U218 Singles, a redundant, unnecessary collection that completely ignores U2's electronica period (Zooropa and Pop) the way rock artists used to ignore their disco excursions (for a more complete picture, pick up The Best Of 1980-1990 and The Best Of 1990-2000), "The Saints Are Coming" is a dubious collaboration between U2 and Green Day. The video for the Skids cover re-imagines the Hurricane Katrina disaster with U.S. and Iraqi armed forces deployed to the region en masse to help rescue civilians, dam the broken levees, and keep the peace. Using real news footage from the disaster and CG technology, director Chris Milk pieces together a goose-bump-inducing alternate history of how things should have, and could have, been.
Janet Jackson, 20 Y.O.: The biggest problem with Janet Jackson's new album, which hasn't even broken the 500,000 sales mark yet, is addressed by the singer herself within the first few seconds of the obligatory intro: "I've talked about a lot of things/What do I talk about this time?…I wanna keep it light/I don't wanna be serious." Janet's three post-millennium albums have been about nothing—surprising since the past few years have been some of the most socially and politically volatile in our nation's history (and I'm not even talking about exposed breasts). Songs like "Control" and "Nasty" espoused Janet's personal freedom and individuality, while "Rhythm Nation," "State Of The World," "The Knowledge," and even the syrupy ballad "Living In A World (They Didn't Make)" were socially-charged calls to arms. When Janet turned her focus to sexual liberation, she still reminded us of her interest in social change with "New Agenda," featuring Chuck D, and she turned inward for the concept album The Velvet Rope, addressing the restraints of low self-esteem, domestic violence, homosexuality, and AIDS, all tied together tightly within the theme of sadomasochism (the album included a cover of Marvin Gaye's "Inner City Blues" to boot). Since then, the social commentary and introspection has all but vanished. Along with the weight she lost, Janet also trimmed the fat on 20 Y.O., and the songs that are here provide some satisfying padding, but Jermaine Dupri failed to write his girlfriend any actual hits. After promising a return to Janet's dance-pop origins, the couple opted to aim for urban audiences, a colossal mistake that cost Dupri his job and, probably, Janet her deal with Virgin.
Ani DiFranco, Reprieve: Ani DiFranco should have titled her new album (her 15th!) Redeem. The folk singer continues to atone for her dissonant, jammy period (circa 1999-2004) with this collection of quaint folk tunes that were recorded in pre-Katrina New Orleans and overdubbed in Buffalo after the disaster, forcing her to use whatever instruments were at her disposal, including a synthesizer. At times the sound recalls Ani at her experimental peak (Dilate), but it's mostly just a continuation of the stripped-down back-to-her-roots sound. It begs the question, though: Has she gone so far off track that serviceable is now considered exceptional? I'm still waiting for her to plug in and give us some much-needed post-9/11, post-Katrina, post-feminist, post-everything rage.
Mario Vazquez, "Gallery": The story goes something like this: American Idol dropout makes good after charming viewers and then mysteriously exiting the show and attempting to get out of his contract. Mario Vazquez was eventually signed by Clive Davis and became the first male Latin artist on Arista Records. In wriggling his way out of his contract with the show, Vazquez was able to bypass an atrocious first single (assuming he won) and, presumably, a generic, rush-released album (we weren't serviced with the full-length, which hit stores in September). His first single, "Gallery," was initially released as a mid-tempo ballad before being repackaged as a more urban mix featuring Baby Bash—it's a savvy move, but the original version is better. Co-written and co-produced by another R&B newcomer, Ne-Yo, the track sports a catchy melody and a vocal performance strong enough to support the weight of the song's soggy "priceless work-of-art" metaphor. Not surprisingly, no Katrina subtext here.
U2 & Green Day, "The Saints Are Coming": The lead single from U218 Singles, a redundant, unnecessary collection that completely ignores U2's electronica period (Zooropa and Pop) the way rock artists used to ignore their disco excursions (for a more complete picture, pick up The Best Of 1980-1990 and The Best Of 1990-2000), "The Saints Are Coming" is a dubious collaboration between U2 and Green Day. The video for the Skids cover re-imagines the Hurricane Katrina disaster with U.S. and Iraqi armed forces deployed to the region en masse to help rescue civilians, dam the broken levees, and keep the peace. Using real news footage from the disaster and CG technology, director Chris Milk pieces together a goose-bump-inducing alternate history of how things should have, and could have, been.
Janet Jackson, 20 Y.O.: The biggest problem with Janet Jackson's new album, which hasn't even broken the 500,000 sales mark yet, is addressed by the singer herself within the first few seconds of the obligatory intro: "I've talked about a lot of things/What do I talk about this time?…I wanna keep it light/I don't wanna be serious." Janet's three post-millennium albums have been about nothing—surprising since the past few years have been some of the most socially and politically volatile in our nation's history (and I'm not even talking about exposed breasts). Songs like "Control" and "Nasty" espoused Janet's personal freedom and individuality, while "Rhythm Nation," "State Of The World," "The Knowledge," and even the syrupy ballad "Living In A World (They Didn't Make)" were socially-charged calls to arms. When Janet turned her focus to sexual liberation, she still reminded us of her interest in social change with "New Agenda," featuring Chuck D, and she turned inward for the concept album The Velvet Rope, addressing the restraints of low self-esteem, domestic violence, homosexuality, and AIDS, all tied together tightly within the theme of sadomasochism (the album included a cover of Marvin Gaye's "Inner City Blues" to boot). Since then, the social commentary and introspection has all but vanished. Along with the weight she lost, Janet also trimmed the fat on 20 Y.O., and the songs that are here provide some satisfying padding, but Jermaine Dupri failed to write his girlfriend any actual hits. After promising a return to Janet's dance-pop origins, the couple opted to aim for urban audiences, a colossal mistake that cost Dupri his job and, probably, Janet her deal with Virgin.
Ani DiFranco, Reprieve: Ani DiFranco should have titled her new album (her 15th!) Redeem. The folk singer continues to atone for her dissonant, jammy period (circa 1999-2004) with this collection of quaint folk tunes that were recorded in pre-Katrina New Orleans and overdubbed in Buffalo after the disaster, forcing her to use whatever instruments were at her disposal, including a synthesizer. At times the sound recalls Ani at her experimental peak (Dilate), but it's mostly just a continuation of the stripped-down back-to-her-roots sound. It begs the question, though: Has she gone so far off track that serviceable is now considered exceptional? I'm still waiting for her to plug in and give us some much-needed post-9/11, post-Katrina, post-feminist, post-everything rage.
Mario Vazquez, "Gallery": The story goes something like this: American Idol dropout makes good after charming viewers and then mysteriously exiting the show and attempting to get out of his contract. Mario Vazquez was eventually signed by Clive Davis and became the first male Latin artist on Arista Records. In wriggling his way out of his contract with the show, Vazquez was able to bypass an atrocious first single (assuming he won) and, presumably, a generic, rush-released album (we weren't serviced with the full-length, which hit stores in September). His first single, "Gallery," was initially released as a mid-tempo ballad before being repackaged as a more urban mix featuring Baby Bash—it's a savvy move, but the original version is better. Co-written and co-produced by another R&B newcomer, Ne-Yo, the track sports a catchy melody and a vocal performance strong enough to support the weight of the song's soggy "priceless work-of-art" metaphor. Not surprisingly, no Katrina subtext here.
The Divas Are Coming
By: Sal Cinquemani On: 07/29/2006 00:28:07 In: Half Notes Comments: 247
Christina Aguilera, Back To Basics: The cover of Christina's upcoming double-album speaks to me. It says, "Hi. I'm Christina Aguilera. You may remember me from such hits as 'Genie In A Bottle,' 'Dirrty,' 'Fighter,' and 'Grind That Ass (Up Against My Crotchless Panties While I Talk Dirrty To You With My Faux-Ghetto Accent),' but I'm cleaning up my image and getting back to basics." It also says, "Yes, I'm going to dress up like a white, blonde-haired, blue-eyed Hollywood pin-up while evoking the great African-American songstresses of the past. Am I being forced to adhere to a racist standard of beauty or just being a coy contradiction?" As for those "high fidelity recording" graphics on the cover, at least her image-making is thorough.
Beyonce, B'Day: I'm finally starting to warm up to the aptly-titled "Déjà Vu" (there's something to be said for reliability and let's face facts: a "Crazy In Love" flashback is better than another "Check On It"). Judging by the album cover, it looks like B has spent a little too much time on the set of Dreamgirls—the newly slimmed-down Jennifer Hudson could be hiding in that hive. Then again, there're no bees to be found anywhere and the blank expression works, in a classic R&B-record sort of way.
Paris Hilton, Paris: "Overused human condom" Paris Hilton showed a, uh, human side while being interviewed by TMZ.com's Harvey Levin regarding malicious user comments made about the socialite. Levin's sadistic intentions aside, it was a revealing moment, but there's nothing chic or sexy about the cover of Paris's new album, and it does nothing to squelch the public perception of the heiress. And what's with her eyes? She's not quite looking at the camera, but she doesn't seem to be looking at anything in the room either. This can't possibly be the best photo they could find.
Kelis, Kelis Was Here: This might be the best of the bunch. There's something marvelously '80s about the airbrushed skyline, yellow nail polish, and Kelis's on-the-go she-works-hard-for-the-money stance (this isn't the first time she's evoked the queen of disco, LaDonna Andre Gaines—she her Tasty album cover). Hopefully the music is as good as the cover.
Janet Jackson, 20 Years Old: Yay! No boobies. But remember when J's look used to evolve with each new album? (Err, remember when J used to evolve, period?) The day she started smiling on her album covers was the day her career started going downhill. Between this and that dreadful single (and video), things aren't looking good for The Emancipation of Penny.
Speaking of Janet…
And apparently Epic Records is giving J. Simp the hazy, demure J. Lo treatment:
(Unfortunately, Justin Timberlake's album cover was not available in time for this, our Album Cover Edition of The Divas Are Coming.)
Christina Aguilera, Back To Basics: The cover of Christina's upcoming double-album speaks to me. It says, "Hi. I'm Christina Aguilera. You may remember me from such hits as 'Genie In A Bottle,' 'Dirrty,' 'Fighter,' and 'Grind That Ass (Up Against My Crotchless Panties While I Talk Dirrty To You With My Faux-Ghetto Accent),' but I'm cleaning up my image and getting back to basics." It also says, "Yes, I'm going to dress up like a white, blonde-haired, blue-eyed Hollywood pin-up while evoking the great African-American songstresses of the past. Am I being forced to adhere to a racist standard of beauty or just being a coy contradiction?" As for those "high fidelity recording" graphics on the cover, at least her image-making is thorough.
Beyonce, B'Day: I'm finally starting to warm up to the aptly-titled "Déjà Vu" (there's something to be said for reliability and let's face facts: a "Crazy In Love" flashback is better than another "Check On It"). Judging by the album cover, it looks like B has spent a little too much time on the set of Dreamgirls—the newly slimmed-down Jennifer Hudson could be hiding in that hive. Then again, there're no bees to be found anywhere and the blank expression works, in a classic R&B-record sort of way.
Paris Hilton, Paris: "Overused human condom" Paris Hilton showed a, uh, human side while being interviewed by TMZ.com's Harvey Levin regarding malicious user comments made about the socialite. Levin's sadistic intentions aside, it was a revealing moment, but there's nothing chic or sexy about the cover of Paris's new album, and it does nothing to squelch the public perception of the heiress. And what's with her eyes? She's not quite looking at the camera, but she doesn't seem to be looking at anything in the room either. This can't possibly be the best photo they could find.
Kelis, Kelis Was Here: This might be the best of the bunch. There's something marvelously '80s about the airbrushed skyline, yellow nail polish, and Kelis's on-the-go she-works-hard-for-the-money stance (this isn't the first time she's evoked the queen of disco, LaDonna Andre Gaines—she her Tasty album cover). Hopefully the music is as good as the cover.
Janet Jackson, 20 Years Old: Yay! No boobies. But remember when J's look used to evolve with each new album? (Err, remember when J used to evolve, period?) The day she started smiling on her album covers was the day her career started going downhill. Between this and that dreadful single (and video), things aren't looking good for The Emancipation of Penny.
Speaking of Janet…
And apparently Epic Records is giving J. Simp the hazy, demure J. Lo treatment:
(Unfortunately, Justin Timberlake's album cover was not available in time for this, our Album Cover Edition of The Divas Are Coming.)
Summer Singles
By: Sal Cinquemani On: 07/25/2006 00:29:29 In: Half Notes Comments: 213
With so many new big-name singles dropping this summer, I thought it was time to christen a new blog series devoted to capsule reviews. It won't be limited to singles and videos though; as Slant's music section continues to grow and reviews are delegated to different writers, I don't always have the opportunity to comment about full-length releases, so I may post short reviews of current albums as well as older, recently discovered ones from time to time. For now, though, here are a few summer singles that are creating buzz:
Justin Timberlake, "SexyBack": As expected, the beat is twerkin' and Timbaland feels the need to make his presence known (though his hype-man routine here is better than his attempt at singing on Nelly Furtado's ubiquitous summer jam "Promiscuous"). What's unexpected is JT's vocals, all affected (and effected) but never erupting into his familiar falsetto, exposing the track for what it really is: a tease. And you'll eat it up until the second single drops this fall.
Cassie, "Me & U": While Janet's limp new single "Call On Me" continues to underwhelm (her label reps are scratching their heads as I type, wondering if they should have gone the retro '80s route as originally planned), Bad Boy newcomer Cassie grabs the baton with her slinky debut single "Me & U." The video, which wisely focuses on Cassie and her dance moves, even finds the singer striking a "Pleasure Principle" pose. Imagine, Diddy doing something right!
Fergie, "London Bridge": What can one say about the Fergie's debut solo single? From its "me love you long time" lyrics to its lack of a discernable hook (judging by the slow-burning success of Kelis's "Bossy," apparently atonal is in), "London Bridge" is absolutely revolting on every level. I'm still looking forward to Fergie's album, but I was hoping that without her fellow success-hungry Black Eyed Peas to muddle the mix, the female voice of the group would focus on just that: her voice. Live performances aside, Fergie seems to have the pipes to go with all those platinum plaques, but "London Bridge" is bogged down with bells and whistles—literally. Lucky radio and press peeps got four mixes to choose from: with or without the siren and two alternatives to the irksome "oh shit" male chant, "oh shh" and "oh snap." After careful consideration, though, I think "shit" is the most accurate.
The Killers, "When You Were Young": Brandon Flowers with a beard? A more "American" sound? Screams identity crisis to me, but if the lead single from their fall album Sam's Town is any indication, The Killers are poised to be anointed The Biggest Band in the World. Flowers's vocals are a little overwrought (I'm going to ignore Rolling Stone's Meatloaf observation, since, well, I don't want to think about it) but the hook is present and accounted for ("He doesn't look a thing like Jesus/But he talks like a gentleman" is some good shit) and, produced by Flood and Alan Moulder, it's the kind of record tailor-made for rock arenas. At least we can't accuse the boys of becoming complacent.
Jessica Simpson, "A Public Affair": Amidst all the brouhaha surrounding Jessica Simpson's new single "A Public Affair" and its similarities to Madonna's early hits "Holiday" and "Lucky Star," no one seems to be talking about the song's other obvious influence: Janet Jackson. The track's lightweight, nauseatingly cheery dance-pop vibe—not to mention those breathy vocals and that mid-song giggle—is reminiscent of Janet's "Runaway" and "All For You," among others. It's a surprising move for Simpson, who originally started out showcasing her voice (she has a good one but just doesn't know how to use it) and hinted that the new album would have a more urban edge. What's more surprising is the public's warm reception of the song. As for the cutesy Brett Ratner-directed video, it features cameos from a laundry-list of celebs including Eva Longoria, Christina Applegate, Christina Milian (?), Andy Dick (!), and Maria Menounos (?!), and takes the Xanadu influence of Madonna's "Sorry" clip (yes, Jess has apparently been attending Madonna 101) even further. "A Public Affair" is mindless summer fun, but we much prefer Paris's "Stars Are Blind" (that's right, I said it) and the Passengerz remix of Nick Lachey's "What's Left Of Me."
With so many new big-name singles dropping this summer, I thought it was time to christen a new blog series devoted to capsule reviews. It won't be limited to singles and videos though; as Slant's music section continues to grow and reviews are delegated to different writers, I don't always have the opportunity to comment about full-length releases, so I may post short reviews of current albums as well as older, recently discovered ones from time to time. For now, though, here are a few summer singles that are creating buzz:
Justin Timberlake, "SexyBack": As expected, the beat is twerkin' and Timbaland feels the need to make his presence known (though his hype-man routine here is better than his attempt at singing on Nelly Furtado's ubiquitous summer jam "Promiscuous"). What's unexpected is JT's vocals, all affected (and effected) but never erupting into his familiar falsetto, exposing the track for what it really is: a tease. And you'll eat it up until the second single drops this fall.
Cassie, "Me & U": While Janet's limp new single "Call On Me" continues to underwhelm (her label reps are scratching their heads as I type, wondering if they should have gone the retro '80s route as originally planned), Bad Boy newcomer Cassie grabs the baton with her slinky debut single "Me & U." The video, which wisely focuses on Cassie and her dance moves, even finds the singer striking a "Pleasure Principle" pose. Imagine, Diddy doing something right!
Fergie, "London Bridge": What can one say about the Fergie's debut solo single? From its "me love you long time" lyrics to its lack of a discernable hook (judging by the slow-burning success of Kelis's "Bossy," apparently atonal is in), "London Bridge" is absolutely revolting on every level. I'm still looking forward to Fergie's album, but I was hoping that without her fellow success-hungry Black Eyed Peas to muddle the mix, the female voice of the group would focus on just that: her voice. Live performances aside, Fergie seems to have the pipes to go with all those platinum plaques, but "London Bridge" is bogged down with bells and whistles—literally. Lucky radio and press peeps got four mixes to choose from: with or without the siren and two alternatives to the irksome "oh shit" male chant, "oh shh" and "oh snap." After careful consideration, though, I think "shit" is the most accurate.
The Killers, "When You Were Young": Brandon Flowers with a beard? A more "American" sound? Screams identity crisis to me, but if the lead single from their fall album Sam's Town is any indication, The Killers are poised to be anointed The Biggest Band in the World. Flowers's vocals are a little overwrought (I'm going to ignore Rolling Stone's Meatloaf observation, since, well, I don't want to think about it) but the hook is present and accounted for ("He doesn't look a thing like Jesus/But he talks like a gentleman" is some good shit) and, produced by Flood and Alan Moulder, it's the kind of record tailor-made for rock arenas. At least we can't accuse the boys of becoming complacent.
Jessica Simpson, "A Public Affair": Amidst all the brouhaha surrounding Jessica Simpson's new single "A Public Affair" and its similarities to Madonna's early hits "Holiday" and "Lucky Star," no one seems to be talking about the song's other obvious influence: Janet Jackson. The track's lightweight, nauseatingly cheery dance-pop vibe—not to mention those breathy vocals and that mid-song giggle—is reminiscent of Janet's "Runaway" and "All For You," among others. It's a surprising move for Simpson, who originally started out showcasing her voice (she has a good one but just doesn't know how to use it) and hinted that the new album would have a more urban edge. What's more surprising is the public's warm reception of the song. As for the cutesy Brett Ratner-directed video, it features cameos from a laundry-list of celebs including Eva Longoria, Christina Applegate, Christina Milian (?), Andy Dick (!), and Maria Menounos (?!), and takes the Xanadu influence of Madonna's "Sorry" clip (yes, Jess has apparently been attending Madonna 101) even further. "A Public Affair" is mindless summer fun, but we much prefer Paris's "Stars Are Blind" (that's right, I said it) and the Passengerz remix of Nick Lachey's "What's Left Of Me."
Categories
Archive
Links
- Cinematical
- Cinephiliac
- Elusive Lucidity
- Film Experience
- Film Freak Central
- fourfour
- Girish
- GreenCine Daily
- Hell on Frisco Bay
- The House Next Door
- IFC Blog
- Some Came Running
- Like Anna Karina's Sweater
- Movie Love
- The Nick Schager Film Project
- Nick's Flick Picks
- The Projection Booth
- The Reeler
- Reverse Blog
- Scanners
- Sergio Leone and the Infield Fly Rule
- Shooting Down Pictures
- SpoutBlog
- The Stranger Song
- Termite Art
- Shut Up and Deal
- When Canses Were Classeled
Website
