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Pop Rock Nation

Category: Reviews

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  • “Sol-Angel & The Hadley Street Dreams”: Little Sister Strikes Back

    The cover of "Sol-Angel & the Hadley Street Dreams", the sophomore effort from Solange Knowles.
    The cover of "Sol-Angel & the Hadley Street Dreams", the sophomore effort from Solange Knowles.

    The musical landscape is littered with them: artists trading on the talent and fame of their more talented, more famous sibling. Most music fans are smart enough to know that whenever “the brother or sister-or son or daughter- of chart-topping singer XXX” arrives on the scene, they should run for cover. My pals at Popdose recently dedicated an entire article to the phenomenon, bringing back some famously awful examples of a few artists who assumed that sharing a bloodline with someone meant sharing their talent as well.

    So you have every right to be frightened by the sophomore effort from Solange Knowles. Yep, Solange is the little sister of world-famous diva singer/actress Beyonce Knowles, sister-in-law of Jay-Z. She’s occasionally stepped in as a fourth member of Destiny’s Child, co-written songs for her sister and her sister’s bandmate Kelly Rowland, and released a fairly horrid album of her own half a decade ago, “Solo Star”. However, she’s probably most known for creating a chink in the fresh-scrubbed Knowles family image by getting knocked up at 17 (Papa Mathew Knowles almost immediately made Solange marry the baby’s father, a move that Mr. & Mrs. Spears would have been wise to emulate). Now a 22 year old divorcee, Solange makes her re-entry onto the musical scene with “Sol-Angel & The Hadley Street Dreams”, a title so pretentious you almost want to hate the album before it starts playing.

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  • Worth A Second Listen: Hole’s “Live Through This”

    It’s a reasonably well-documented fact that most if not all artistic people are a few sandwiches short of the old picnic basket, and before Amy Winehouse took over as music’s #1 female nutjob, there was Courtney Love. Over the past two decades, Courtney’s been labeled as just about anything you could think of: opportunist, poseur…you name it, Courtney’s been called it. However, the fact that she led the music industry in Hot Messitude during the Nineties (and she’s still up there these days) should not take away from the fact that she and her band Hole made some good music: most of which appears on 1994’s grunge-era classic Live Through This.

    Hole's 1994 album "Live Through This"
    The cover of Hole's 1994 album "Live Through This"

    In retrospect, it’s pretty likely that her marriage to Nirvana frontman Kurt Cobain expedited the band’s signing to major label DGC (which just happened to be Nirvana’s label), but Courtney and Hole (which also featured Eric Erlandson on guitar, Kristen Pfaff on bass and Patty Schemel on drums) had paid their dues by slagging through the underground for years. Courtney had been a fixture on the L.A. rock scene since the early Eighties, enjoying vague associations with everyone from Faith No More to the Red Hot Chili Peppers, before founding Hole. They garnered some attention with an indie release called “Pretty On the Inside” before Love met Cobain. The association gave Courtney some additional notoriety (especially when she said she used heroin while pregnant with Kurt’s baby), but her association started a trend of her music almost becoming secondary to her celebrity. Which is a shame, because Live Through This is a damn good album.

    A lot of the signifiers that associate music with the grunge era are here. The loud/soft dynamic is in full effect, as Courtney usually slurs the verses and shrieks the choruses. The lyrics are on the obtuse side-at least to my ears, but they certainly sound tortured enough. However, one thing that set this album apart from most records of that era was Courtney’s insistence on the music being as melodic as it was aggressive. Her sense of melody wouldn’t fully develop until her significantly more sanitized album “Celebrity Skin”, and most folks assume she had help in the songwriting process (in all likelihood from Kurt himself), but it’s a rarity in that it’s an aggressive rock album that you can actually sing along with.

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  • New Music Revue: Nas’s “Untitled”

    Sometimes it’s hard to separate artistry from publicity. I was recently involved in a healthy debate regarding whether Amy Winehouse’s success is due to her artistry or the fact that she’s a walking, talking trainwreck (I vote for the former). The fact of the matter, though, is that in an environment when record sales are falling and record companies are scrambling to make their bottom line and justify their extravagant expenditures, artists are relying more and more on publicity stunts to keep their names in the headlines, which ends up putting true music fans in a bind, unable to separate the artist and the artistry from the celebrity.

    This is one of two reasons I was initially skeptical about the untitled (or self-titled, depending on how you look at it) ninth studio album by the rapper Nas (or NaS, as iTunes annoyingly lists his name). As anyone who has even a remote interest in popular music must know, a mild furor arose when Nas announced what he intended to originally call the album: “Nigger”. In a hyper-sensitive world where the media seems to pounce on every available opportunity to create division and drama, a simple word/album title turned into a political football (interesting that no one batted an eyelash when Ol’ Dirty Bastard titled an album “Nigga Please” less than a decade ago). Various stories began circulating around the press: was Nas going to get dropped from Def Jam, his label? Would certain stores not carry the album if released? Why was the album’s release date continually getting pushed back? Why did Nas rip off the whip-welt scarred back cover of dead prez’s “Let’s Get Free” for the front cover of his album? Ultimately, Nas chose (or was asked, depending on who you believe) to change the title of the album-well, actually the decision ended up being not to title the album at all. I’ve viewed this whole situation with a cocked eyebrow, amazed at the ability of the average rap fan to buy in to what was obviously (at least partially) a publicity stunt milked to raise maximum awareness of the album’s release (as it turns out, the gambit didn’t exactly work. While the album debuted at #1 on this week’s album charts, it did so with the lowest first-week sales of any Nas studio album since his debut).

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