web analytics

Pop Rock Nation

Category: New Music

  • We Are The… Canada. Young Artists for Haiti take on K’Naan’s “Wavin’ Flag”

    “And then it goes back. And then it goes back. And then it goes back…”  And here it comes again. “Wavin’ Flag”, Somali-Canadian rapper K’Naan‘s loving and mournful, hopeful anthem to his home city of Mogadishu has, in the year since its release, taken on a life of its own – or rather:  several lives of its own. A top 10 hit in his adopted home country of Canada (where he’s lived since his early teens), the song’s also been used on a video game soundtrack and later last year, was given a stadium ready bilingual remix (“The Celebration Mix”) when it was chosen as the official theme song for the 2010 FIFA World Cup in South Africa. Then, a couple of months ago, after the earthquake in Haiti, K’Naan performed a delicate acoustic version of the song on the Canada for Haiti telethon. In a timely reminder that Haiti still needs help, a group of Canadian recording artists calling themselves Young Artists for Haiti got together in the studio with producer Bob Ezrin (producer of both Pink Floyd’s The Wall and Berlin’s Count Three and Pray) to re-record the song all “We Are The World” style with a the obligatory in-the-studio, right-hands-to-headphones, documentary music video.

    The guest list for this gig includes a few international stars like Nelly Furtado and Avril Lavigne, some super-hip alterna-faves (Esthero, Emily Haines of Metric, rapper Kardinal Offishall, the bands Broken Social Scene and City and Colour), along with a few alterna-also-rans (Deryk Whibley, of Sum 41 – remember Sum 41?); there are a few wonderful “only-in-Canada” names (Corb Lund and the Hurtin’ Albertans?); there’s a token old guy (Tom “Life is a Highway” Cochrane doesn’t rate a solo, but you catch a few glimpses of him in the video), and a lot of pretty youngsters including Fefe Dobson, Drake,  Nikki Yanofsky (who wasn’t born when Tom Cochrane had that big hit), and Justin Bieber, who also wasn’t born when people knew who Tom Cochrane was, and has the strange distinction of having sung the first lines of “We Are the World 25” and getting to sing the final words here.   This assemblage of stars gets an added kick of wide-eyed optimism from a gaggle of singing, flag-waving children at the song’s climactic key-change.

    The result may be a bit “over-inspirational” (as is wont for this type of project), but on the whole, it’s significantly less artistically misguided than “We Are The World 25”.  For one thing, it’s shorter.  Which is nice.  But I think the major thing it’s got going for it is that, while it’s still a remake (K’Naan does get the first few lines),  it’s a current song; it’s not attempting to re-conjure quarter-century-old charity-single magic.  The original “Wavin’ Flag” is still charting in the Canadian Top 10.  (How it continues to elude a significant American audience is absolutely beyond me.)   The rap section in “We Are The World 25” felt like a freakish appendage to a song written for a pop landscape that had no idea rap was coming, but when Drake drops a Haiti-specific verse leading up to that final chorus (you know, the part where the flag-waving kids come in), it makes absolute musical sense – it feels organic and right, and places that final flag-waving moment in an appropriately empathetic context.   On “We Are The World 25” it seemed like a bunch of rappers trying to out-machismo each other on a rhyme that seemed ghoulishly self-involved and self-aggrandizing.    (I’d quote it here, but I honestly can’t bring myself to watch it again… so:  sorry.)  Also, aside from the rap, there’s a general (and refreshing) lack of Auto-tuniness here.  These singers mostly just sing, and some of them sing pretty amazingly – amazingly enough for me to want to spend my evening Googling my brains out trying to figure out who they are and where I can get my hands on some of their other music.

    All in all, the song gets more right than wrong, and this actually feels like the proper heir to the original “We Are the World” and all the other idealistic charity singles of the 80s.  Even if the faces and names aren’t as recognizable as will.i.am and Barbra Streisand.

  • From the WTF Files: A Secret Stash of “Soviet Funk”

    For most of us, the most daring unauthorized use of company property we’ll ever commit is to print off our March Madness brackets for the department pool. Which is amazing given the relatively tame punitive consequences of committing greater corporate sins. I mean, yeah, I’d probably get fired (and deeply embarrassed) if I got caught doing something indecent – say, distributing internet porn, or watching highlights from Glenn Beck – on my work computer. But that’d probably be it. Maybe a misdemeanor charge here or there, a fine, some probation, a bad reference. Whatevs. I’m confident I wouldn’t get dragged out of my home and shot in a city square, or tossed in a jail cell for indefinitely. Maybe it’s the predictable leniency of the punishment that keeps most of us from doing anything brilliant or consequential (and therefore risky) with our acts of petty corporate theft. If we were going to stake our lives on it, it would have to be brilliant, right?

    Meet Pavel Sysoyev, Cold War-era Soviet government employee, and probably the closest thing to Herbie Hancock to ever emerge from the obscure Russian outpost of Abakan, a city of about 160,000 located just north of Mongolia in the Republic of Khakassia in extreme southeastern Siberia. Although to say he “emerged” from Abakan is a bit of a mis-statement. Mr. Sysoyev (who now lives in St. Paul, Minnesota) may, in fact, be more famous now in the American Midwest than he ever was anywhere in Khakassia where the fact that his recordings of his original, American-influenced funk and jazz compositions (and those of a burgeoning local underground he mentored and produced) were made after-hours on top-of-the-line government-owned equipment – and this at a time when American popular musical forms were as freshly and ambiguously legal in the U.S.S.R. as medicinal marijuana is now in the U.S., and far less respectable – made widespread release of his music in his home country a laughable impossibility.

    It’s only more than 35 years after the fact that the underground jazz/fusion/funk scene Sysoyev grew under cover of night in his little Soviet-financed musical petrie dish is seeing the light of release, thanks to Minneapolis-based Secret Stash Records, who, just a couple months ago, released an LP called Soviet Funk – Volume 1 (on red vinyl, of course) with a second volume slated for release next week!   Soviet Funk – Volume 1 compiles ten instrumental gems (Look, Ma!  No language barrier!) from Pavel Sysoyev’s vaults (attic? closet? little cubby hole under the floorboards?), from sessions dating to the early ’70s, a few credited to Sysoyev himself, but also including bands Sysoyev produced like Pomogite and Da/N’et.   As startling as the mere existence of these recordings is (not to mention their sudden ready availability to schmos like me), it’s even more startling just how fricking great they are.  

    The songs themselves are smart and sophisticated, full of jaunty, stylish melodies, unexpected rhythmic twists, and harmonies that occasionally wink-nudge at the Russian classical music tradition the players came from, but the playing is incredible – and incredibly joyful – and the recordings sound as sharp as anything Creed Taylor set to tape in the same time period.  For all the musical sophistication behind it though, it’s an immediately groovable record with no shortage of catchy, accessible tunes like the opener “Gostiny Dvor” whose bubbly, flute-driven melody sounds like a forgotten hit single.  This is a record that compels you to keep flipping it over (and to keep doing that dorky little dance that you do when you’re fairly certain you’re alone with your record player) instead of browsing your shelves for what to listen to next.  [Note:  by “record”, I mean “not a CD”:  Secret Stash is a vinyl-only label, but their records do come with .mp3 download cards for those of us who love our iPods as much as our turntables.]

    In advance of the release of Soviet Funk – Volume 2, Secret Stash is now offering a free .mp3 download of a track by Pomogite, the seven-minute “Ubijcy v Belyx Xalatax” (did I mention it’s instrumental?) – an explosive saxophone-driven jam full of firework syncopations and out-of-nowhere time changes, bookended by a couple of elegant solo electric piano meditations.   Proof that Volume 1 was no fluke – in fact, it’s a strong suggestion that Volume 2 is even better.  I can’t wait.