Hey, we took a break for a coupla weeks and now we’re back. The music industry is slowly shaking out of it’s slumber, and while there aren’t any superstar releases for a couple weeks still, there is some interesting niche-y kinda stuff getting released. We’re gonna roll with a new format this year and see if it sticks.
The big deal this week is the release of the Notorious B.I.G. biopic Notorious on Friday, and a few days in advance of the movie’s release, we have the soundtrack. This will be the 4th compilation of B.I.G.’s material released since his death. There’s fairly significant overlap between this CD and the Greatest Hits album Bad Boy put out two years ago,with the exception of a couple of demos, and one song featuring B.I.G.’s 12 year old son. Let’s hear it for exploitation!!
Not much else going on. Jam band lovers can rejoice because the Derek Trucks Band is releasing their new album, Already Free today. On the R&B side, we have new releases from the bluesy Syleena Johnson and former Broadway star Heather Headley, whose first gospel album comes out today. All you jazziacs can take a listen to the new Ravi Coltrane and Joshua Redman releases, and late 90s fetishists can pick up the new (hed) p.e. album.
A few interesting things going on as far as reissues. The Now That’s What I Call Music series turns its’ attention to Motown just in time for the pioneering label’s 50th anniversary with a track listing remarkably similar to the Motown #1s CD that came out about half a decade ago. Odessa, one of the Bee Gees‘ earlier efforts, gets the 2-disc deluxe treatment today, and Sony’s environmentally friendly Playlist series has a ton of new entries, ranging from Run-DMC and The Jacksons to Van Morrison and Dan Fogelberg.
Hey, folks…after having guests for a few weeks, I’m back in control of the Sunday Seven and it feels good! So without any further ado, here’s a random trip through my iPod, where I pull seven musical selections and talk about them.
Track 1: Just Can’t Get Enough by Depeche Mode (1981)
This was Depeche Mode’s first “hit”, I guess. Well, considering it didn’t do much in the States when it was released, let’s just say that it’s the band’s oldest popular song. This dates back from when Vince Clarke (later of Yaz and Erasure) was in charge of the band. Although Clarke split really quickly, DM kept his sound and, in a move uncommon when it comes to breakups, both parties went on to super-successful careers.
Track 2: Brass Monkey by The Beastie Boys (1986)
I knew the time would come when a song came up that I’d already discussed. Needless to say, I love Licensed To Ill, I love Brass Monkey (the song, never tried the concoction), and I wish I had a beer right now because this song always makes me thirsty.
Track 3: I Was a King by Eddie Murphy feat. Shabba Ranks (1993)
OK, I need to explain why this song is on my iPod. About a year and a half, I was visiting our own GG back in his home in the Garlic Capital of the World. Looking through his CD collection, I noticed he owned two of Eddie Murphy’s three non-comedy albums (well, OK, his three unintentionally funny albums). I figured there was tons of joke material to be found, so I burned them onto my laptop. Remember when the video for this premiered on Fox? Did Eddie think he was Michael Jackson or something like that? Ooh, and the video’s on YouTube! You guys are in for a treat.
Track 4: For You I Will by Monica (1997)
This earnest ballad was written by (you guessed it) Diane Warren and wound up on the soundtrack to the Michael Jordan’s Space Jam. Monica’s one of those singers who had so much potential, and she wound up taking what was probably a too-long break from recording followed by a couple of sub-standard albums. Her last album, The Makings of Me, was a chore to get through. Here’s hoping that she ditches Jermaine Dupri and Missy Elliott and make the album her voice is capable of. I was going to say that this song was originally recorded by All-4-One, but i’d be getting my big-voiced divas confused. That song would be I Turn to You, later recorded and turned into a smash by Christina Aguilera.
Track 5: Now I’m Here by Queen (1975)
It’s widely acknowledged that Freddie Mercury had one of the most unique and powerful voices in all of music. I think that voice was used to best effect on hard rocking songs like this. Brian May’s guitar work is fantastic, and Freddie delivers (for him) a restrained vocal performance, complete with those stacked harmonies and a weird screaming effect (is that someone’s voice or is that a guitar?)
Track 6: Stan by Eminem (2000)
Stan was the song that convinced me that Marshall Mathers was a genius. I remember listening to this song on a cassette Walkman on my way home from work (I’d bought the tape the day it came out) and being completely bug-eyed by the end of the song. I rewound that tape God knows how many times after the first listen. It’s easily one of the best rap songs of all time, and worth listening to for the simple fact that it makes you remember how talented the guy was. I still get lost in this song when I hear it. Hell, this song made Dido’s career.
Track 7: Any Foolish Thing by Michael McDonald (1985)
We end this week’s Seven with a favorite of my buddies over at Popdose, Michael McDonald. This is also the only song in this week’s Seven without video accompaniment. Ah, well. I say this with no snark whatsoever-Michael McDonald is the fuckin’ man. Have you ever tried to sing What a Fool Believes? How does he get his voice up that high? This song’s not one of his best, but it has a pleasant midtempo bounce and a twinkly synth arrangement that makes it perfect to close up shop for the week…
…Till next time. And as a reminder, if anyone wants to guest-write this column, just email kingdemon01@gmail.com and let me know.
Every generation has a musical icon, usually several. Someone who acts as a paradigm shifter, changing the game for all that come after. In the Fifties, it was Elvis. The Beatles and The Stones took the Sixties. Stevie Wonder, Marvin Gaye, The Sex Pistols and a host of artists turned the tide in the Seventies. Michael, Prince and Madonna ruled the early Eighties, and R.E.M. and U2 ended the decade. Then there was Hurricane Cobain, Biggie and ‘Pac.
However, this decade has yet to produce that paradigm shifter, someone to change the face of music. There hasn’t been one big musical revolution at all in the 21st century. Perhaps that’s due to the fact that music seems to be so segregated these days. Young people these days seem to lock themselves into a niche and not really listen to anything outside of it-and I realize I totally sound like an old coot when I say this.
So, who is going to take the baton and become the pre-eminent musical icon of the decade? Well, first you have to ask what it takes to become an icon? You’ve got to be forward-thinking and artistic-so critical cred is a must. You’ve got to have charisma and an image that resonates with the public. You’ve also-for better or for worse-got to sell records. All of the artists I mentioned earlier were megastars. So, while moving units isn’t the most important thing, it certainly counts.
Now who fits the bill? Well, think of the artists who have managed to maintain critical and commercial success. Radiohead immediately comes to mind, but they’d reached iconic status before the decade even started. Actually, a ton of this decade’s most consistent artists were active through most of the Nineties: Beck, The Roots, Jay-Z, OutKast. I’d even throw Dave Matthews Band in there if critics were a little kinder to them. Aside from maybe The Roots (who really should get some kind of award for most consistent rap group in history, or should at least share it with De La Soul), all of these artists were already icons, at least within their respective genres. There are also a couple of acts-like John Mayer and Alicia Keys, who fall just short of consideration. Here are the artists I think should be mentioned as icons of the current generation.
Eminem-It’s arguable that Eminem was the last major icon that popular music has produced. As the most successful white rapper in history, he opened up millions of ears to hip-hop culture (and by extension, a segment of black culture), all while producing three consecutive albums that are considered either classics or near-classics. He fired up women’s groups, gay groups and everyone from Christina Aguilera to Michael Jackson with his lyrics, and also had that James Dean “I-don’t-give-a-fuck” rebel thing going on.
However, Eminem’s been traveling down the long slippery slope of suck for about half a decade now. He’s turned from a witty social commentor into your garden-variety gangsta rapper, with nothing to rhyme about except guns and clubs. Too much hanging out with 50 Cent, I guess. Em’s upcoming album, Relapse, will be the record that seals his legacy for him. Judging from the tastes we’ve heard of it so far, I think it might be curtains for Eminem as a cultural and musical icon. Sorry, Marshall. It’s been fun.
The White Stripes. Photo by imnotgarycoleman.
The White Stripes– Detroit in the house, I guess. Jack White’s been the rocker du jour since breaking through with Fell in Love with a Girl back when all the “The” bands were in vogue. He and Meg have outlasted every single one of them. Rock bands these days seem to come and go with alarming frequency, but it’s safe to say that The Stripes are this decade’s breakout American band. There’s also Jack’s side project, The Raconteurs, who have released two solidly successful albums, and his guest shots producing everyone from Loretta Lynn to Beck. All that said, I don’t know if the White Stripes have reached a large enough audience to qualify. Their albums sell well, but not fantastically, and unlike the other artists mentioned here, they don’t have that wide-ranging cultural reach.
Beyonce-This generation’s Diana Ross, Beyonce’s a successful singer, a successful actress, and a successful fashion designer. It seems that she wins no matter what she puts her hands on. Songs like Independent Women and Single Ladies (Put a Ring on it) have definitely endeared her to this generation of strong women, and she has an uncanny knack for the earworm, with inescapable singles like Irreplaceable and Crazy in Love. However, there’s something about Beyonce that just doesn’t catch. There’s no edge to her personality. Also, she can write hooks, but can she really write songs? Keep in mind that Irreplaceable was written by Ne-Yo, who’s a hit album or two from appearing on this list himself.
Justin Timberlake-When Usher’s Here I Stand didn’t set charts on fire this year, Justin Timberlake officially took over as the new millennium Michael Jackson. He’s successfully made the jump from the member of a critically maligned boy band to a critically adored solo artist. He’s certainly ubiquitous-appearing in Gnarls Barkley videos, doing records with everyone from T-Pain to Chris Cornell, hosting some of the most memorable Saturday Night Live episodes in recent memory. You’ve gotta wonder, though. How much of Justin’s success is due to Justin and how much of it is due to Timbaland. Tim’s presence on both the FutureSex/LoveSounds album and its’ videos was so dominant you could practically call them a duo. JT hasn’t really established his own sound yet, and although I think he’s very close to attaining cultural icon status, he just ain’t there yet.
Coldplay-The new millennium’s first and only stadium band, Coldplay has scored four successful smash albums. Once the other guy (U2) blinks, Coldplay can stake their claim as the biggest rock band in the world. Pretty heady stats, eh? A couple things separate Coldplay from who I feel is their biggest competitor in the 21st century musical icon sweepstakes. One, Chris Martin doesn’t necessarily have name value yet, and unless you’re a hardcore fan, I bet you can’t name more than one other member of the band. Two, critical opinion of the band is split, to say the least. Three, the band is still stuck with the tag of being derivative-a watered down mixture of U2 and Radiohead. Granted, you could pick a lot worse acts to steal your schtick from, and Viva La Vida has quieted some of that talk down, but Coldplay will have to settle for runner up status this time around.
So, who’s the closest thing we have to a musical icon in this century?
Kanye West. Photo by s-affandi
Kanye West -Nearly 10 million records sold over the course of four albums. 9 Grammy Awards. Three critically acclaimed albums and one album so far off the beaten path no one knows what to do with it. Outspoken to a fault. Obnoxious. Arrogant. Savvy. Although he sometimes comes off as a rapping, producing George Jefferson, there’s no denying that Kanye’s music is almost as good as he says it is. There’s the fact that his audience is all over the place-from grandmothers who dug Gold Digger to the college kids picking apart 808s & Heartbreak, to the thugs blasting his productions for artists like Lil’ Wayne and Young Jeezy. Think about it-an album like 808s would be a certified career-killer if recorded by just about any other artist. Kanye’s sold a million copies of it in six weeks. He and Jay-Z are the only rappers capable of selling out stadiums, and it’s not hard to imagine Kanye and his mouth pulling off a sitcom, a variety show or a guest-hosting gig on a show like SNL. Add all of that together, and you’ve gotta admit that even if we don’t have an official voice of this generation yet, Kanye’s the closest one.
Do you think I’m loony? Who did I leave off? Has my Kanye-love gone too far? Leave a comment.
special thanks to Kim Rullo, for posing the question that led to the creation of this essay. Click that link and check out some of her work.
Hey, we took a break for a coupla weeks and now we’re back. The music industry is slowly shaking out of it’s slumber, and while there aren’t any superstar releases for a couple weeks still, there is some interesting niche-y kinda stuff getting released. We’re gonna roll with a new format this year and see if it sticks.
Justin Timberlake-When Usher’s Here I Stand didn’t set charts on fire this year, Justin Timberlake officially took over as the new millennium Michael Jackson. He’s successfully made the jump from the member of a critically maligned boy band to a critically adored solo artist. He’s certainly ubiquitous-appearing in Gnarls Barkley videos, doing records with everyone from T-Pain to Chris Cornell, hosting some of the most memorable Saturday Night Live episodes in recent memory. You’ve gotta wonder, though. How much of Justin’s success is due to Justin and how much of it is due to Timbaland. Tim’s presence on both the FutureSex/LoveSounds album and its’ videos was so dominant you could practically call them a duo. JT hasn’t really established his own sound yet, and although I think he’s very close to attaining cultural icon status, he just ain’t there yet.